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THE HISTORY OF
THE VIOLA

VOLUME II

Maurice W. Riley

THE HISTORY OF THE VIOLA
VOLUME II

Maurice W. Riley

Volume II of The History of the Viola is a
supplement to the original History of the Viola,
published in 1980. At that time there was no
plan to publish a Volume II, and therefore the
first publication was not listed as Volume I. The
first edition, 1980, is now out-of-print. The de¬
mand for this book and the accumulation of new
material related to viola history dictates the
publication of the present edition, entitled Vol¬
ume II, and the eventual reprinting of the orig¬
inal book in a revised form as Volume I.

The 1980 edition included violas from the
shops of such masters as the members of the
Amati family, Gasparo da Said, Paolo Maggini,
Andrea Guarneri, Antonio Stradivarius, J.B.
Guadagnini, and others; as well as information
about 19th and 20th century craftsman who at¬
tempted to “improve” the instrument. Volume
II contains photographs and descriptions of 65
important violas that did not appear in the 1980
edition.

When the 1980 editon was published,
there was a limited amount of information avail¬
able to the author. Once the book was pub¬
lished, however, museums, dealers, and indi¬
vidual owners of violas volunteered information
and photographs in such quantity that it soon
became evident that there had to be a Volume II

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Frontispiece, by Ben Carl Riley: Five Giants of the Viola: Maurice Vieux,
(1884-1957), Paul Hindemith (1895-1963), William Primrose (1904-1982),
Vadim Borissovsky (1884-1957), Lionel Tertis (1876-1975).

THE HISTORY OF
THE VIOLA

VOLUME II

Maurice W. Riley

Library of Congress Card Number 79-66348

ISBN: 0-9603150-2-0
0-9603150-3-9

Printed by Braun-Brumfield, Ann Arbor, Michigan, U.S.A.

UPB

PREFACE

Volume II of The History of the Viola is a supplement to the original
History of the Viola, published in 1980. At that time there was no plan to
publish a Volume II, and therefore the first publication was not listed as
Volume I. The first edition, 1980, is now out-of-print. The demand for this
book and the accumulation of new material related to viola history dictates
the publication of the present edition, entitled Volume II, and the eventual
reprinting of the original book in a revised form as Volume I.

The 1980 edition of The History of the Viola is the first book to deal with
all aspects of the viola from c. 1500 to the present. Included in the book were
photographs, descriptions, and dimensions of important violas of large size
(tenors) and small size (altos) made from c. 1500 to c. 1800. At this latter date
most of the large violas had already been cut down in size to make them
easier to hold and to play. The 1980 edition included violas from the shops
of such masters as the members of the Amati family, Gasparo da Salo, Paolo
Maggini, Andrea Guarneri, Antonio Stradivarius, J.B. Guadagnini, and oth¬
ers; as well as information about 19th and 20th century craftsman who at¬
tempted to “improve” the instrument.

When the 1980 editon was published, there was a limited amount of
information available to the author. Once the book was published, however,
museums, dealers, and individual owners of violas volunteered information
and photographs in such quantity that it soon became evident that there had
to be a Volume II in order to better deal with the instruments and other
aspects of The History of the Viola.

In addition to photographs and descriptions of instruments, more in¬
formation and biographies were volunteered regarding violists in Argentina,
Czechslovakia, France, Italy, the Orient, Yugoslavia, and elsewhere. Schol¬
arly research also has uncovered important information related to the music
written for the viola, and the violists who performed this music. There has
been also much accelerated activity of organizations promoting the viola.

The decade between the publication of Volume I, in 1980, and the
writing of Volume II, in 1990, has been one of the most eventful and pro¬
ductive periods in the history of the Viola. It has been a period that is
chronicled in the present edition.

Many deserving violists had been unintentionally omitted from the
biographies in the “Appendix” of the 1980 edition. There has been an
EXHAUSTIVE ATTEMPT to rectify these omissions in the present edition.

Volume II is comprised of four principal sections:

PART ONE, THE VIOLA AND ITS LUTHIERS, Chapters I— VI;
PART TWO, RECENT RESEARCH RELATED TO THE VIOLA,
Chapters VII-XVII;

PART THREE, THE HISTORY OF THE VIOLA IN THE DECADE
1980-1990, Chapters XVIII-XXXI; and
PART FOUR, APPENDIX, BRIEF BIOGRAPHIES OF VIOLISTS.

ACKNOWLEDGEMENTS

The author is grateful to everyone who has been helpful in any way to
bringing this book to fruition. There has been a careful attempt to list all in
this acknowledgement. If any have been inadvertently omitted, hopefully it
will be forgiven.

Grateful recognition is hereby expressed for the invaluable assistance
furnished by business firms, individuals, and institutions who furnished
photographs and descriptive information of significant violas used in this
book.

The firms are Bein & Fushi, Chicago; The Rhoda Lee Burchak and
Carol Burchak Warden Collection of the Dale Music Store, Silver Springs,
Maryland; Jacques Frangais, New York City; Hans Weisshaar, Los Angeles;
and William Moennig & Son, Philadelphia, and Philip Kass, an associate of
this firm, who gave considerable assistance in researching the Moennig files.

Individuals who furnished photographs and information about their in¬
struments are Toby Appel, concert artist; Emil Cantor, Professor of Viola at
Trossingen Hochschule fur Musik, Diisseldorf, Germany; Otto Erdesz, lu¬
thier, Ft. Lee, New Jersey; Mary Elliott James, Professor of Viola, Pittsburg
Kansas University; Albert Gillis, Emeritus Professor of Viola, University of
California, Fresno; Prof. Dr. Dr. Volker Klingmiiller, Mannheim, Germany;
John Magashazi, Professor, Woodstock Collegiate Institute, Woodstock, On¬
tario, Canada; John Henry Riley, professional violist, Los Angeles, Califor¬
nia; Ellen Rose, Principal Viola, Dallas Symphony; Ervin Schiffer, Professor
of Viola, Brussels Conservatoire Royal de Music; Yizhak Schotten, Professor
of Viola, University of Michigan; James Van Valkenburg, Assistant Principal
Viola, Detroit Symphony Orchestra; Pierre-Henri Xuereb, Professor of Vi¬
ola, Paris Conservatoire; and Barbara Zmich, violist, Louisville Symphony
Orchestra.

The institutions and their curators who assisted include The Library of
Congress Musical Instrument Collection, Robert Sheldon, Curator; The
University of Michigan Stearns Musical Instrument Collection, Dr. William
P. Malm, Curator; and The Shrine to Music Museum, Dr. Andre P. Larson,
Director, Dr. Margaret Downie Banks, Curator, and Allison Alcorn, Re¬
search Associate. The Shrine to Music Museum is located on the campus of
South Dakota University in Vermillion, South Dakota; The Rawlins- Witten
Collection in this Museum contains several of the priceless violas that are
described in this book.

vii

The author is grateful to Dr. Dexter Rexroth and Nicole Ludwig, M.A.,
of the Paul-Hindemith-Institute in Frankfurt a/M, Germany, who furnished
photographic copies of Hindemith’s two unpublished Sonaten fiir Bratche
Allein, and for permission to publish the first page of each of these compo¬
sitions.

The author wishes to thank the Moravian Music Foundation of Bethle¬
hem, Pennsylvania, and the Fleischer Collection of the Free Public Library
of Philadelphis, for permission to print excerpts from the August Gehra
Viola Concerto. Gratitude is due Franco Sciannameo, Publisher of the
Violexchange for permission to use excerpts from three of my articles pre¬
viously printed in his magazine: “A Tentative List of Viola Concertos from
the Baroque, Classic, and Early Romantic Periods,” (1986), Vol. 1, No. 4;
“Rare Baroque Viola Concerto in Moravian Archives,” (1987), Vol. 2, No. 4;
and “Scordatura for Viola,” (1989), Vol. 4, No. 1.

The author is indebted to the following individuals who contributed
valuable Chapters to this book:

Dr. Ann Woodward, Chapter VIII, “A Profile of Violists in the Classical
Period”;

Prof. Dr. Wolfgang Sawodny, Professor of Chemistry at the University
of Ulm in Germany, also contributed invaluable assistance in prep¬
aration and writing of Chapter X, “The Identity of L. Casimir-Ney,
and an Evaluation of His 24 Preludes for Solo Viola.”

Eduardo Dali, Chapter XII , “A Brief History of the Viola in Argentina”;

Albert Azancot, Chapter XIII, “Maurice Vieux, et Les Amis de l’Alto”;

Franco Sciannameo, Chapter XIV, “Unpublished and Out-of-Print
Italian Viola Music of Giuseppe Sarti (1729-1802) and Ferdinand
Giorgetti (1796-1867)”;

Elena Belloni Filippi, Chapter XV, “The Viola in Italy,” (This Chapter
is used with the permission of R.C.S. Sansone, Florence, Italy,
publisher of Storia Della Viola (1983), the Italian translation of The
History of the Viola;

Prof. Dr. Zvonimir Davide, Chapter XVI, “The Viola in Yugoslavia”;

Tully Potter, Chapter XVII, “The Czech Viola School.”

Dr. David Dalton, Chapter XXIII, “The Primrose International Viola
Archives (P.I.V.A.)”;

Robert Howes, violist in the Cincinnati Symphony for furnishing infor¬
mation concerning the dedication of Maurice Vieux’ 2enw Etude de
Concert to his American student, Valter Poole.

Gratitude is expressed for help in researching the biography of the late
Ferenc Molnar to his daughter, Mrs. Ava Molnar Heinrichdorff of Colorado

viii

Springs, Colorado; Isolde E. Loewinger, M.D., of San Francisco, California;
and Dr. Louis and Dr. Annette Kaufman of Los Angeles, California.

Appreciation is expressed to Virginia Majewski for the invaluable assis¬
tance she furnished in researching the use of the viola and the viola d’amore
in musical scores for motion pictures.

Credit and thanks is due to Dr. Burkhard Forbrich, of Leek, Germany,
for furnishing biographical material about the little known Bulgarian violist
Stefan Todorov Sugarev.

Appreciation is due to Mrs. Agnes Albert of San Francisco, California,
and to Michael Ouzounian, Principal Violist of the New York Metropolitan
Opera Orchestra, for assistance in preparing the biography of Germain
Prevost.

Credit and appreciation is acknowledged for Dr. Dwight Pounds, of
Western Kentucky University, who furnished photographs of people and
events of the Viola Congresses.

The author wishes to thank Virginia Cooper, Professor of English and
Latin at Eastern Michigan University, who translated the Latin motto
painted on the ribs of a viola made by Andrea Amati.

Also appreciation is due to Mark Norfleet, violin repairer and restorer,
of Ann Arbor, Michigan, who contributed time and assistance in locating the
present owner of “Little George”, one of the violas attributed to the Klotz
Family. Robin Wideman, violist, and Peter Hayden, former owner of the
“Big George” Klotz viola, are to be commended for giving assistance in
gathering material about this viola.

Gratitude is expressed to Professor-Director Franz Zeyringer, of
Pollau, Austria, former President of the INTERN ATIONALEN VIOLA-
GESELLSCHAFT, who furnished many of the biographies of the violists
appearing in PART FOUR: APPENDIX.

We are grateful to our friend Russel Witte, computer specialist among
many other things, who assisted in the instruction and mechanics of the use
of the computer, thereby speeding this book to completion. We are most
appreciative for his invaluable help, and his patience.

My family was very much involved in the final production of this book.
Two of our sons, George, a professional violinist, and John, a professional
violist, did much of the photography, and Ben Carl, a professional cellist and
artist, painted the frontispiece of this book; his wife, Carolyn, who drew the
map by computer that appears in Chapter II. I am particularly indebted to
my dear wife, Leila, who edited and typed the entire manuscript; and whose
faith, love, encouragement, and criticism was the inspiration for bringing
Volume II to completion.

CONTENTS

PREFACE . v

ACKNOWLEDGEMENTS . vii

CONTENTS . xi

LIST OF PLATES . xvii

LIST OF EXAMPLES . xxv

PART ONE: THE VIOLA AND ITS LUTHIERS

I. THE VIOLA . 3

The Instrument. Description and Dimensions. Viola
Making in Cremona in the 16th and 17th Centuries.

The Amati Family. Fewer Violas! The Guarneri
Family. Stradivarius.

II. VIOLA MAKING IN BRESCIA IN THE 16TH

AND 17TH CENTURIES . 18

The Gasparo da Said School. Zanetto. Conclusion.

III. ITALIAN VIOLAS FROM C.1700 TO

THE PRESENT . 35

Italian Violas in the 19th Century. 20th Century Italian
Violas. Conclusion.

IV. GERMAN VIOLAS . 71

Jacobus Stainer. The Matthias Kloz Family.

Georg Kloz. Other German Makers. 19th Century
German Violas. Markneukirchen.

V. ENGLISH AND FRENCH VIOLAS IN THE 18TH AND

19TH CENTURIES . 91

English Violas. French Violas. Vuillaume.

VI. EXPERIMENTS IN THE DESIGN OF THE VIOLA ... 103
The John Magashazi Violas. The Ernst Busch Viola. The
Pierre-Henri Xuereb Viola. The Klingmuller-Bader Viola.

The Golani-Erdesz Viola.

CONCLUSION TO PART ONE:

20TH CENTURY VIOLAS . 112

PART TWO: RECENT RESEARCH RELATED TO THE
HISTORY OF THE VIOLA

VII. A TENTATIVE LIST OF AVAILABLE VIOLA

CONCERTOS FROM THE BAROQUE, THE CLASSIC,

AND THE EARLY ROMANTIC PERIODS . 115

The Available Viola Concertos: Baroque, Classic and Early
Romantic. The Gehra Viola Concerto.

VIII. A PROFILE OF VIOLISTS IN THE CLASSICAL

PERIOD, BY DR. ANN M. WOODWARD . 126

Anspach, Bayreuth, Bentheim, Berlin, Bonn/Koln, Cassel,
Dresden, Gotha, Mainz, Mannheim/Munich/Pfalz,
Mecklenburg-Schwerin, Oettinger-Wallerstein,

Pressburg, Regensburg, Schwarzburg-Rudolstadt,

Trier, Wurtemberg.

IX. SCORDATURA FOR THE VIOLA . 138

X. THE IDENTITY OF L. CASIMIR-NEY, HIS

COMPOSITIONS, AND AN EVALUATION OF HIS
24 PRELUDES FOR SOLO VIOLA. WRITTEN JOINTLY
BY PROF. DR. WOLFGANG SAWODNY AND
DR. MAURICE W. RILEY . 144

XI. PAUL HINDEMITH’S 90TH BIRTHDAY AND THE

PAUL-HINDEMITH-INSTITUTE . 155

XII. A BRIEF HISTORY OF THE VIOLA IN ARGENTINA,
ARGENTINE VIOLISTS, VIOLA MAKERS, AND
COMPOSERS OF VIOLA MUSIC, BY EDUARDO R.

DALI (TRANSLATED BY MAURICE W. RILEY) . 161

Additional Compositions for Viola. Argentine Luthiers.

XIII. MAURICE VIEUX, THE FATHER OF THE MODERN
FRENCH VIOLA SCHOOL AND LES AMIS L’ALTO,

BY ALBERT AZANCOT, ROBERT HOWES,

MAURICE W. RILEY . 167

Les Amis de L’Alto. Les Concours International de l’Alto
Maurice Vieux, Paris. Le 2eme Concours, Lille. Le 3eme

xii

Concours International de l’Alto Maurice Vieux, Orleans.
The Contest for Luthiers (Tone Quality).

XIV. UNPUBLISHED AND OUT-OF-PRINT ITALIAN VIOLA
MUSIC OF GIUSEPPE SARTI (1729-1802) AND
FERDINANDO GIORGETTI (1796-1867) BY
FRANCO SCIANNAMEO . 182

XV. ITALIAN VIOLISTS, BY ELENA BELLONI FILIPPI . . 192

XVI. YUGOSLAVIAN VIOLISTS, BY PROF. DR.

ZVONIMIR DAVIDE . 208

XVII. THE CZECHOSLAVIA VIOLA SCHOOL, BY

TULLY POTTER . 214

PART THREE: HISTORY OF THE VIOLA IN THE
DECADE 1980-1990

XVIII. THE INTERNATIONAL VIOLA SOCIETY . 249

Pioneering Attempts by Hindemith, Borissovsky, and
Altmann to Found a Society for Violists. The Founding of
The International Viola Society.

XIX. THE VIOLA IN 1980 253

The VIII IVG Congress. Guitare d’ Amour. The Lionel
Tertis Competition. The Viola d’Amore Society. The Viola
Competitions in Munich. Publications.

XX. THE VIOLA IN 1981 . 263

The IX IVG Congress. The International Viola
Archives. Publications.

XXI. THE VIOLA IN 1982 270

The X IVG Congress. The Geneva Viola Competition.

The Naumburg Viola Competition. The Viola d’Amore
Society Congress.

XXII. THE VIOLA IN 1983 . 275

The XI IVG Congress. The Maurice Vieux Viola
Competition. The Munich Viola Competition.

Publications.

Xlll

XXIII. THE PRIMROSE INTERNATIONAL VIOLA ARCHIVE

(PIVA), CONTRIBUTED BY DR. DAVID DALTON _ 281

The Primrose Memorial Concerts.

XXIV. THE VIOLA IN 1984 . 292

The XII IVG Congress, and The Lionel Tertis Viola
Competition. French-Soviet Seminar. Musicological
Symposium. The Viola d’Amore Society Congress.

Publications.

XXV. THE VIOLA IN 1985 . . 296

The XIII IVG Congress. Violist’s Day. Viola Plus.

Publications.

XXVI. THE VIOLA IN 1986 . 304

Viola Week. The XIV IVG Congress. The Second Maurice
Vieux Competition. The ASTA Viola Competition. The
Viola d’Amore Society. Congress. Publications.

XXVII. THE VIOLA IN 1987 . 308

The XV IVG Congress. The Geneva Concours
Internationale d’Execution Musicale. Viola Plus.

XXVIII. THE VIOLA IN 1988 . 316

The XVI IVG Congress. The Third Lionel Tertis Viola
Competition. The ASTA Viola Competition. Bratsche
Bash. The Viola d’Amore Congress. Publications.

XXIX. THE VIOLA IN 1989 . 322

The XVII IVG Congress. Braschistentag. The Third
Maurice Vieux Competition.

XXX. THE VIOLA IN 1990 . 331

The XVIII IVG Congress. The ASTA Viola Competition.

The AVS Board Meeting. The Viola d’Amore Society
Congress. The Viola Symposium in Germany. The
Gasparo da Salo Celebration. The British Viola
Festival 1990.

XXXI. THE PAST AND THE FUTURE FOR THE VIOLA _ 337

Protagonists of the Viola. In Memoriam.

PART FOUR: APPENDIX. RRIEF RIOGRAPHIES OF VIOLISTS

INTRODUCTION . 345

Ferenc Molnar. Virginia Majewski. Stefan
Todorov Sugarev.

BRIEF BIOGRAPHIES . 355

BIBLIOGRAPHY . 448

INDEX . 451

LIST OF PLATES

Frontispiece, by Ben Carl Riley: Five Giants of the Viola:

Maurice Vieux, Paul Hindemith, William Primrose,

Vadim Borissovsky, Lionel Tertis

1. Questionnaire: Description of Viola . 4

2. Viola Dimensions . 5

3. Viola by Andrea Amati, Cremona, before 1577 . 8

4. Viola by Antonius and Hieronymus Amati,

Cremona, 1597 . 10

5. Viola by Hieronymus II Amati, Cremona, 1705 . 11

6. Tenor Viola by Andrea Guarneri, Cremona, 1664 . 14

7. The Stradivarius “Tuscan Contralto,” made for the Medici

Court, Cremona, 1690 . 15

8. The Stradivarius “Tuscan Tenore,” made for the Medici Court,

Cremona, 1690 . 16

9. Map: The Principal Cities of Italy, Austria, and Southern
Germany Where Violin Making Flourished during the
16th Century to the Present. Computer drawing by

Carolyn Riley . 19

10. Viola by Gasparo da Salo, Brescia, before 1609 . 20

11. Viola of the School of Gasparo da Salo, Brescia, Late

16th Century . 21

12. Viola by the Father of Peregrino Zanetto, Brescia, Late

16th Century . 27

13. Viola by Peregrino Zanetto, Brescia, between 1560-1580 .... 28

14. Viola by Peregrino Zanetto, Brescia, Late 16th Century . 29

15. Viola by Peregrino di Zanetto de’ Michele, after 1564 . 30

16. Viola by Venture d’Francesco Linarol(o), Venice, 1577 . 31

17. Viola by Giavanni Paolo Maggini, Brescia, 15?8 . 32

18. Viola of the Brescian School, c.1650 . 33

19. Viola by Antonio Mariani, Pesaro, 1666 . 34

20. Viola by Joannes Tononi, Bologna, c. 1699 . 42

21. Viola by Joannes Tononi, Bologna, c. 1710 . 43

22. Viola by Matteo Goffriller, Venice, c. 1701 . 44

23. Viola by Giovanni Grancino, Milan, 1701 . 45

24. Viola by Giovanni Grancino, Milan, c. 1712 . 46

25. Viola by Paolo Antonio Testore, Milan, 1743 . 47

26. Viola by Carlo Antonio Testore, Milan, c. 1760 . 48

xvii

27. Viola by Antonio Ungarini, Fabriano, c. 1740 . 49

28. Viola by Pietro Antonio della Costa, Treviso, c.1750 . 50

29. Viola by Giovanni Battista Gabrielli, Florence, 1761 51

30. Viola by Joannes Baptista Guadagnini II, Parma, c. 1763 . 52

31. Viola by Joannes Baptista Guadagnini II, Turin, 1774 . 53

32. Viola by Carlo Ferdinand Landolfi, Milan, 1765 . 54

33. Viola by Tomasso Balestrieri, Mantua, c. 1765 . 55

34. Viola by Lorenzo & Tomasso Carcassi, Florence, c. 1765 . 56

35. Viola by Pietro Giovanni Mantegazza, Milan, 1771 . 57

36. Viola by Pietro Giovanni Mantegazza, Milan, c. 1780 . 58

37. Viola by Pietro Giovanni Mantegazza, Milan, 1793 . 59

38. Viola by Lorenzo Storioni, Cremona, 1783 . 60

39. Viola by Lorenzo Storioni, Cremona, 1784 . 61

40. Viola by Lorenzo Storioni, Cremona, c. 1785 . 62

41. Viola by Giovanni Ceruti, Cremona, 1807 . 66

42. Viola by Joannes Franciscus Pressenda, Turin, 1834 . 67

43. Viola by Joseph Rocca, Turin, 1848 . 68

44. Viola by Giacomo Rivolta, Milan, 1824 . 69

45. Viola by Stefano Scarampella, Mantua, 1900 . 70

46. Viola by Jacobus Stainer, Absam, Austria, c. 1650 . 73

47. Viola by Matthias Alban, Bozen (Bolzano), 1698 . 74

48. Viola by Georg Kloz, Mittenwald, 1721 . 78

49. Viola by Leonhard Maussiell, Niirnberg, c.1710 . 84

50. Viola by Leonhard Maussiell, Niirnberg, 1731 . 85

51. Viola by Daniel Achatius Stadlman, Vienna, 1725 . 86

52. Viola by Johann Paul Alletsee, Munich, 1727 . 87

53. Viola by Christoph Friedrich Hunger, Leipzig, 1751 . 88

54. Viola by Joannes Udalricus Eberle, Praha (Prague), 1754 .... 89

55. Viola-alta by Karl Adam Horlein, Wiirtzburg, 1892 . 90

56. Viola by Daniel Parker, London, England, c. 1720 . 93

57. Viola by William Forster, Jr., London, England, 1780 . 94

58. Viola by Benjamin Banks, Salisbury, England, 1765 . 95

59. Viola by Benjamin Banks, Salisbury, England, 1787 . 96

60. Viola by Benoit Fleury, Paris, 1760 . 99

61. Viola by Nicolas Lupot, Paris, 1808 . 100

62. Viola by Jean Baptiste Vuillaume #1578, Paris, c. 1842-44 . . . 101

63. Viola by Jean Baptiste Vuillaume #2603, Paris, 1865 . 102

64. Viola by John Magashazi #1, Woodstock, Ontario,

Canada, c. 1979 . 104

65. Viola by John Magashazi #2, Woodstock, Ontario,

Canada, c.1979 . 105

66. Viola by Ernst Busch, Niirnberg, 1641 . 106

67. Viola by Unknown Maker, c. 1850 . 107

xvm

68. Viola by Johann Evangelist Bader, Mittenwald, 1955 . 109

69. Viola by Otto Erdesz, Toronto, 1978 . Ill

70. Announcement of Hindemith 90th Birthday Celebration

Concerts by Samuel Rhodes and Guest Artists . 156

71. Maurice Vieux (1884-1957) . 168

72. Serge Collot, Co-President of Les Amis de l’Alto, of

Conservatoire National de Musique de Paris, France . 173

73. Paul Hadjaje, Albert Azancot, and Serge Collot, at an exhibit

of Les Amis de l’Alto, Lille, France, 1986 . 174

74. Jury of Maurice Vieux Performance Concours, 1986 . 177

75. Winners of Maurice Vieux Performance Concours, 1986 . 178

76. Marie-Therese Chailly, Professor of Viola, Conservatoire
National de Musique de Paris, France, and Bruno Pasquier,

Recital Soloist, Lille, France, 1986 . 179

77. Elena Belloni Filippi, Italian Translator of The History of the

Viola (Storia Della Viola) . 193

78. Luigi Alberto Bianci, with his Antonio and Girolamo Amati

Viola, 1595, since stolen. Note the Crucifix and the Medici
Coat-of-Arms on back . 196

79. The Quartetto Italiano (left to right): Paolo Borciani,

Eliza Pegreffi, Franco Rossi, Piero Farulli . 199

80. Ladislav Cerny (1891-1975), Virtuoso Violist, Chamber
Musician, Pedagogue, and Propagandist for the Viola, Playing

His Large G. B. Grancino Viola . 224

81. Oskar Nedbal (1874-1930), Composer, Conductor,

Virtuoso Violist . 225

82. Original Bohemian (Czech) Quartet (left to right): Hoffman,

Oskar Nedbal, Berger, Suk . 226

83. Dr. Milan Skampa (1928 — ), at the First Lionel Tertis
International Viola Competition, Isle of Man, 1980, with

John White, English Violist and Professor of Viola . 227

84. The Smetana Quartet: Jiri Novak, Lubomir Kostecy,

Antonin Kohout, Milan Skampa . 228

85. Jin Herold (1875-1931), Virtuoso Violist of the Bohemian
(Czech) Quartet, also Quartet Leader, Pedagogue, and

Amateur Luthier . 229

86. Bohemian (Czech) Quartet: Karel Hoffman, Josef Suk,

Jin Herold, Ladislav Zelenka . 230

87. Lubomir Maly (1938 — ), Viola Soloist and Member of City of

Prague Quartet . 231

88. Hubert Simacek (1912 — ), Viola Soloist and Chamber

Musician . 232

89. Josef Suk (1929 — ), Violinist and Violist . 233

XIX

90. Karel Spelina (1936 — ), Czech Philharmonic Orchestra . 234

91. Josef Kod’ousek (1923 — ), Vlack Quartet . 235

92. Jaroslav Karlovsky (1925 — ), Playing Hindemith s Der
Schwanendreher at the 1961 Prague Spring Festival, with the
Composer Conducting the Czech Philharmonic Orchestra . . . 236

93. Prof. Dir. Franz Zeyringer (on the right), Founder and
President of Die Internationale Viola-Gesellschaft (IVG),

1968-88, and Uta Lenkewitz-von Zahn, Secretary of IVG . . . 250

94. Prof. Dr. Wolfgang Sawodny, Editor of Die Viola, Jahrbuch
der International Viola-Gesellschaft, with George Riley,

Violinist in The United States Air Force Symphony

Orchestra . 251

95. Ulrich von Wrochem Performing Luciano Berio s Sequenza VI

for Solo Viola, at VIII IVG Congress, Graz, 1980 . 254

96. Albert Lessing with a Guitare d’ Amour (or Arpeggione) on
Which He Played Schubert s Sonate fur Arpeggione,

Graz, 1980 . 255

97. Participants at Lionel Tertis Viola Competition, 1980, Port

Erin, Isle of Man . 258

98. John Bethel, Chairman of the Lionel Tertis Viola Competition,

1980, and Mrs. Lionel Tertis, Port Erin, Isle of Man . 259

99. Paul Neubauer, 1st Prize; Kim Kashkashian, 2nd Prize, Tertis

Competition, 1980 . 260

100. David Dalton, Tully Potter, Harry Danks, Maurice W. Riley,

John White, and Man Seng Chan, at the 1980 Tertis
Competition . 261

101. A. Baird Knechtel (r), President of Canadian Chapter of IVG;
Host-Chairman of IX IVG Congress, Toronto, Canada, 1981,

with Donald Mclnnes (L) and Raphael Hillyer . 264

102. Ralph Aldrich and Dr. William Primrose, at IX IVG Congress,

1981, Toronto, Canada . 265

103. Feodor Drushynin, Interpreter, and Maurice W. Riley . 266

104. Harry Danks, Viola d’Amore, Recitalist; and Thomas Tatton,

Director of Multiple Viola Performance . 266

105. Lillian Fuchs, Gave Master Class, and Honored with a Plaque

for Her Lifelong Commitment to the Viola . 267

106. Bernard (viola) and Naomi (piano) Zaslav, Duo-Recitalists .... 268

107. Notice of Death of Dr. William Primrose, and the
Establishment of the William Primrose Memorial

Scholarship Fund . 271

108. Ulrich Koch, Artist Violist and Teacher . 272

109. Ulrich Driiner (2nd from right), Violist and Research Scholar,

Host-Chairman of X IVG Congress, Stuttgart, 1982; with (1-r)
Lawrence Wheeler, Recitalist, University of Houston,

Maurice W. Riley, and Max Rostal . 273

110. Dr. Milton Katims, Artistic Director, School of Music,

University of Houston; Violist, Conductor, Educator,
Editor-Arranger of Many Works for Viola; Host-Chairman

of XI IVG Congress, Houston, 1983 . 276

111. Panel at Houston: Eric Chapman, Thomas Tatton,

Maurice W. Riley, moderator, Myron Rosenblum, David

Dalton, Franz Zey ringer . 279

112. Dr. Dwight Pounds, Western Kentucky University,

Vice-President of The American Viola Society . 280

113. Dr. David Dalton, Archivist of PIVA, Brigham Young

University . 282

114. The “Working, or Short Score” of the Bartok Viola Concerto

(reconstructed by Tibor Serly), which William Primrose used
for its first performance with the Minneapolis Symphony
Orchestra, 1949. PIVA, BYU . 284

115. Donald Mclnnes with 1984 Lionel Tertis Competition
Winners: Carla Maria Rodrigues, British, 3rd Prize; Cynthia
Phelps, USA, 1st Prize; Paul Coletti, British, 2nd Prize,

(not present) . 294

116. Marcus Thompson (r), Host-Chairman of XIII IVG Congress,

New England Conservatory, Boston, 1985, with Lt. Dennis M.
Layendecker, Conductor of the United States Air Force
Symphony Orchestra . 297

117. Burton Fine, Principal Violist, Boston Symphony Orchestra,

with Susan Miron, harpist, and Fenwick Smith, flutist . 300

118. Walter Trampler, Recitalist . 300

119. Joseph de Pasquale, Principal Violist of the Philadelphia

Orchestra, with George Riley, Concertmaster of the United
States Air Force Symphony Orchestra . 301

120. Panel on “How to Practice”: Paul Doktor, Rosemary Glyde,

Milton Thomas, Cynthia Phelps, and Atar Arad . 302

121. Yizhak Schotten, University of Michigan, Host-Chairman of XV
IVG Congress, Ann Arbor, Michigan, with Katherine Collier

and Maurice W. Riley . 309

122. Winners of the William Primrose Competition: Paris
Anatasiades, 3rd Prize; Lynne Richburg, 1st Prize;

Carla Maria Rodrigues, 2nd Prize; with Dr. David Dalton,

President of AVS, and Dr. Robert Oppelt, Chairman of
Competition Committee . 309

XXI

123. (a) Maurice Gardner, Composer, Concerto for Violin and Viola

(b) Maurice Gardner, with Donald Mclnnes, Viola, Endre
Granat, Violin . 310

124. David Finko, Composer, Concerto for Viola and Orchestra,
with Robert Vernon, Principal Viola of the Cleveland

Orchestra . 311

125. Alan Shulman, Composer, and Mrs. Shulman, with

Harold Klatz, Viola, Chicago Symphony, Secretary, AVS .... 311

126. James Domine, Composer, Concerto for Viola and String

Orchestra; with Susan Kier, Violist . 312

127. Louis Kievman, John Riley, Violist, and Lisa Riley, Violinist,
Supporters of The American Viola Society Since Its

Beginning . 313

128. Lenore Weinstock and Emanuel Vardi, Duo-Recitalists . 313

129. Dr. Ann Woodward, Treasurer of AVS 1978-87;

Dr. Rosemary Glyde, Treasurer of AVS, 1988 — ; and

Louis Kievman . 314

130. Reunion of Louis Kievman, Nathan Gordon, and Emanuel
Vardi, All Members of the NBC Symphony, Directed by

Arturo Toscanini . 314

131. Lauria Riley and Ben Carl Riley, Cellists in the United States
Air Force Symphony Orchestra, which has Performed in Seven
IVG Congresses; and Carolyn Riley. Ben Carl and Carolyn did

the Art Work in this Book . 315

132. Gunter Ojstersek, President of IVG, 1988 — 318

133. Yuri Bashmet, Performer and Member of the Jury, Lionel

Tertis Competition, Isle of Man, 1988 . 320

134. Louis Kievman, Chairman of Planning Committee for XVII

IVG Congress, Redlands California, 1989 . 323

135. Daniel Foster, 1st Prize, Second William

Primrose Competition . 324

136. David Dalton, Mrs. Donna Dalton, Henry Temianka, Speaker
at Final Banquet, Gunter Ojstersek, President of IVG, and

Mrs. Ojstersek . 326

137. Leila Riley, Honored at Banquet with Plaque “for Longtime

Service to The American Viola Society;” with David Schwartz,
Former Principal Violist of the Cleveland Orchestra and the
Detroit Symphony, Lectured on “The Recording Industry and
Studio Work.” . 326

138. Pamela Goldsmith, Violist, with Mitchell Peters, Percussionist,
Performers of Michael Colgrass Variations for Four Drums

and Viola . 327

xxii

139. Csaba Erdelyi, University of Indiana, Recital and

Master Class . 327

140. Karen Tuttle, Master Class and Illustrated Lecture:

“Viola Pedagogical Techniques” . 328

141. Dr. Dwight Pounds, Vice-President of AVS, Illustrated

Lecture, “The History of the American Viola Society” . 329

142. Presidents of AVS: David Dalton, 1986-89; Maurice W. Riley,
1981-86; Alan de Veritch, 1989 — ; Myron Rosenblum,

1975-81, (not present) . 334

143. “Three Generations of Rritish Violists”: Dr. Watson Forbes,

Aeolian Quartet; Who Taught John White, Alberni Quartet;

Who Taught Martin Outram, Maggini Quartet . 335

144. Ferenc Molnar . 348

145. Virginia Majewski, with Composer-Conductor Bernard

Hermann, photograph taken in 1951 . 352

xxiii

LIST OF EXAMPLES

1. Comparative Diagrams of the Klingmiiller-Bader Viola and

Traditional Viola Design . 109

2. Page 1 of Score of Concerto in C Major by

August H. Gehra . 122

1. Page 1 and 2 of Viola Solo Part to Concerto in C Major by

August H. Gehra . 123-4

1. Page 1 of Score of Duxieme Concerto pour VAlto Principale by

Johann Amon . 141

2. Page 1 of Viola Solo Part of Duxieme Concerto pour VAlto

Principale by Johann Amon . 142

3. Title Page 24 Preludes pour VAlto Viola by

L. Casimir-Ney . 148

4. Excerpt from Prelude 1 of 24 Preludes pour VAlto Viola by

L. Casimir-Ney . 149

5. Excerpt from Prelude XVII of 24 Preludes pour VAlto Viola by

L. Casimir-Ney . 150

6. Excerpt from Prelude XXIV of 24 Preludes pour VAlto Viola by

L. Casimir-Ney . 151

7. Excerpt from Prelude VII of 24 Preludes pour VAlto Viola by

L. Casimir-Ney . . 152

8. Excerpt from Prelude XX of 24 Preludes pour VAlto Viola by

L. Casimir-Ney . 153

9. Page 1 of Manuscript of Unpublished Sonate fur Bratsche

allein. Op. 31, IV (1924), by Paul Hindemith . 158

1. Title Page and Page 1 of Manuscript of Unpublished Sonate fur

Bratsche solo, 1937, by Paul Hindemith . 159-160

2. Title Page and Excerpt from Six Etudes de Concert pour Alto

et Piano by Maurice Vieux, 1932 . 171-2

1. Ferdinando Georgetti’s Finger Placement of the Left Hand in

his Method . 188

XXV

PART ONE

THE VIOLA
AND ITS LUTHIERS

CHAPTER I

THE VIOLA

The Instrument

!IR\.RT ONE of this book deals with violas and the luthiers who made them.
It is a continuation of the material on this subject that constituted a large part
of Volume I. A questionnaire was used to obtain information from the
present owners of instruments, and photographs were requested, or per¬
mission to photograph their instruments. Dealers in many cases sent infor¬
mation based on their own records. Complete information on some of the
instruments was not available

To make it easier for the reader to comprehend the information, and
particularly the dimensions that accompany each set of photographs, the
questionnaire and the accompanying drawing appear on the next two pages.
It will be noted that, as often as possible, measurements are given for the
width of both the upper and lower ribs. In most violas the lower ribs are
slightly wider than the upper ribs. This was done intentionally by the luthier
for structural purposes.

Description and Dimensions

There are several factors that will determine the ultimate quality of a
bowed instrument. They include: (1) The initial selection of wood for the top
and back, it is important that they both have good acoustical qualities and
that they complement and compliment each other. (2) The shape or model
also will influence the ultimate tone quality. (3) The careful cutting, scrap¬
ing, sanding, and shaping of the different parts — the assembling and the
gluing of the parts together, which constitute a production utilizing talent,
experience, patience, and skill. (4) The selection and manner of application
of varnish will not only contribute to the appearance of the instrument, but
also will give a protective coat to the wood that will lengthen the life of the
instrument. (5) Basic to all of the above is the ultimate dimensions of the
instrument. The dimensions of a viola have a direct bearing on the tone

The History of the Viola

DESCRIPTION OF VIOLA

Name and Address of Present Owner:

Name of Maker and his dates: _

Date Made: _ Where, City and Country: _

Color of Varnish: _ _

Kind of Wood in Back: _ ; in Top:

Model: (Strad, del Gesu, da Saio, Stainer, etc.) _

Unusual Features If Any:

History:

Instrument Certified By:

Other Pertinent Information:

Pease mail this questionnaire to: Dr. Maurice W. Riley

512 Roosevelt Blvd.
Ypsilanti, MI 48197

Plate 1. Questionnaire.

The Viola

NAME OF VIOLA MAKER AND DATE MADE_

Note: Measurements of Viola can be in
either English or Metric System,

Plate 2. Dimensions.

The History of the Viola

quality of the instrument, and they also are equally important as related to
the physical needs of the violist for performance.

The dimensions that particularly effect the performance potential of a
violist are: (1) the body length, (2) the width of the upper bout, (3) the width
of the upper and lower ribs, and (4) the string length. All four dimensions
relate directly to the comfort and the playing facility of the individual violist,
as well as the violist s endurance.

The body length contributes to the resonance and tonal response of the
low C string register. The violist must be aware, however, of the physical
problems related to playing an instrument of 43.3 cm. (17 in.) or larger.
Unless the violist has long and strong arms there is a danger that the strain
and fatigue of playing a large viola can contribute to developing tendonitis,
bursitis, and other debilitating physical problems. Both Tertis and Primrose
had problems related to playing large violas

The width of the upper bout and the width of the upper ribs should be
of particular concern to the performer who has small hands and short fingers
because playing above the fourth position on the three lower strings could be
extremely difficult.

The width of the lower ribs can determine the comfort or lack of comfort
of the chin and the neck of the violist.

The string length determines the space between the fingers in playing
half-steps and whole-steps, and can effect the intonation for a person who
switches frequently from the violin to the viola. Professionals become ac¬
customed to and oblivious to this problem. Amateurs and young students,
however, must constantly adjust the left-hand finger spacings to meet the
demands of good intonation.

Viola Making in Cremona in the 16th and 17th Centuries

Andrea Amati (b. between 1500 to 151 1-d. before 1580) and the three
following generations of his family contributed much toward making the city
of Cremona, Italy, the center of the craft of violin making. Andrea’s dates
and those of his two sons, Antonius (Antonio) and Hieronymus (Girolamo),
had long been disputed by the experts who evaluated Amati instruments. In
1938 Carlo Bonetti, a Cremonese scholar completed an investigation that
revised the dates of the first two generations of the Amati family. 1

Previous to Bonetti’s scholarly investigation of Church and Cremona

1Carlo Bonetti, A Genealogy of the Amati Family of Violin Makers 1500-1740, Edited by Daniel Draley,
Translated by Gertrud Graubart Champe, (Monticello, Iowa: Maecenas Press, 1989). The original Italian
version of Bonetti’s Genealogy appeared in 1938.

The Viola

city records, Andrea s dates had been listed erroneously in music histories
and biographies as c. 1530-C.1611; his sons’ Antonius 1550-1638, and Hi¬
eronymus 1556-1630. Bonetti’s corrected dates, including Nicolaus, the
third generation, and Hieronymus II, the fourth generation, appear in the
diagram below:

The Amati Family

Andrea Amati
(1500/5 to 11-before 1580).

Antonius Amati
“Antonio’’

(c. 1540-c. 1595)

Hieronymus Amati
“Girolamo’’

(c. 1561-1630)

Nicolaus Amati
“Nicolo”
(1596-1684)

Hieronymus II Amati
(1649-1740)

The above diagram appears in Volume I of The History of the Viola. It
is reprinted here to illustrate the genealogy of the very influential and highly
talented luthiers of the Amati family.

During the 16th and early 17th centuries Andrea and two of his sons,
Antonius and Hieronymus made violas in both the small size (altos) and the
large size (tenors). After c. 1575 the two sons made many of their instruments
jointly and became known as the “Brothers-Amati ”.2 Laurence C. Witten
made an exhaustive study to determine how many of Andrea Amati’s instru¬
ments survive. He found four small violins with a body length of 34.2 cm. (13
7/16 in.); three large violins of 35.4 cm. (13 15/16 in.); four decorated cellos
of body lengths: 74 cm. (29 1/8 in.), c.75 to 76 cm. (29 1/2 to 7/8 in.), 75.7 cm.
(29 13/16 in.), a cut-down one of undisclosed length, and an undecorated one
reduced to 75.5 cm. (29 11/16 in.). Of violas he found a decorated one now
in the Ashmolean Museum, Oxford, England; and an undecorated one of
41.9 cm. (16 1/2 in.). During the 1940’s this great viola was purchased by
William Lincer, Principal Violist of the New York Philharmic, who per¬
formed on it in concerts and recordings.3 It is now the property of Kim
Kashkashian. The third viola, which is decorated, is discussed below.4

2Laurence C. Witten, “The Surviving Instruments of Andrea Amati, ” Early Music, October, 1982, pp.
487-94.

3Ibid., p. 490.

4See Maurice W. Riley, Volume I of The History of the Viola (Ypsilanti, Michigan, 1980), pp. 14-21, for
descriptions of three other Andrea Amati violas: The first is the Stanley Solomon Viola, which has been cut

The History of the Viola

Plate 3. Viola by Andrea Amati, Cremona, before 1577.
Photographs furnished by The Shrine to Music Museum. (No. 3370)

Andrea Amati, the first of the Amati dynasty, made the viola shown in
Plate 3 before 1577. Originally a tenor viola, it was cut down to make it
easier to play. The present dimensions are:

String length — 36.5 cm. (14 3/8 in.)

Body length — 40.6 cm. (16 in.)

Upper bout — 18.5 cm. ( 7 9/32 in.)

Middle bout — 13.1 cm. ( 5 1/8 in.)

Lower bout —23.9 cm. ( 9 7/16 in.)

down to a present body length of 43.3 cm (17 1/16 in.); a second viola, with a body length of 40.7 cm. (16 in.),
belongs to an owner who chose to be anonymous; and the third, the famous Walter Trampler viola, was cut
down to a body length of 44.45 cm. (17 1/2 in.). The Trampler viola was certified by Simone F. Sacconi as
being the work of the Brothers- Amati. However, Jacques Frangais and Charles Beare contend that it was
made by Andrea, or at least started by him and completed by the Brothers.

The Viola

This viola has a golden brown varnish. The belly has been retouched. It
has a two-piece back of maple. The top is of spruce.

On the center of the back is painted a large round crest and fleurs-de-lis
in the points. A Latin inscription is painted on the ribs:

“QUO VINCO PROPVGNACVLO
STAT STABITOVE RELIGIO”

(Religion stands and will endure,

so that I can survive

because of its source of strength.)5

This instrument was one of a set made for an unidentified Italian Mar¬
quis.

It was certified by W.E. Hill and Sons, 6-28-1912, who sold it to C. B.
Lutyens and Mrs. Hope Hambourg. In 1982 it was acquired by Laurence C.
Witten II from J. and A. Beare of London, and purchased by The Shrine to
Music Museum as a part of the Witten-Rawlins Collection in 1984. 6

This viola was exhibited and played at the Cremona Triennale, 1982.

Antonius (c. 1540-1627?) and Hieronymus Amati, (1561-1630), second
generation of the Amati violin makers, were the sons of Andrea Amati. This
example of their violas (Plate 4) was considerably cut down. The present
body length is 38.1 cm. (15 in). No other dimensions are available.

The Brothers-Amati made more fine violas than most makers during the
period c. 1575-1700. Their violas are particularly in demand by string quar¬
tet violists

Nicolaus Amati (1596-1684), son of Hieronymus, third generation of
The Amati Family, made few violas, probably due to the decreasing demand
for them (See below, “Fewer Violas”). However, he was perhaps the most
famous of all the Amatis due to the quality of his violins, particularly the
so-called “long model”, which he developed, and also, in part, to the large
number of his apprentices who became outstanding luthiers. They included,
besides his own son, Hieronymus II, Andreas Guarnerius, Francesco Rug-
gieri, Giovanni Rogeri, and Antonius Stradivarius. Many other young luthi¬
ers, if not actually apprentices, were greatly influenced by Nicolaus’ models,
including the great Austrian maker, Jacobus Stainer.

translation by Virginia Cooper, Professor of Latin, Eastern Michigan University.

6Laurence C. Witten II (b. 1926), an antiquarian bookdealer in Southport, Connecticut, began collecting
fine stringed instruments in the 1960’s, when the collection of the Bisiach family in Milan, Italy, and the
collection of Emil Herrmann, New York/Berlin, were broken up. In 1984 Mr. and Mrs. R. E. Rawlins,
honorary members of The Shrine to Music Museum’s Board of Trustees, offered to help buy the legendary
Witten Collection. It was purchased and is now known as the Witten-Rawlins Collection. Among the other
instruments in the Witten-Rawlins Collection is a tenor viola by Andreas Guarnerius (1564) and one by
Jacobus Stainer (c. 1650), neither of which has been reduced, also other significant violas by Gasparo da Salo
(before 1609), Zanetto (c. 1580), Pietro Mantegazza (1793), Leonhard Maussiell (c.1731), Christoph F. Hunger
(1751), and Ernst Busch (1641).

The History of the Viola

Plate 4. Viola by Antonius and Hieronymus Amati, Cremona, 1597.

The Viola

Plate 5. Viola by Hieronymus II Amati, Cremona, 1705.
Photographs furnished by Toby Appel.

Hieronymus II Amati (1641-1740), fourth generation of The Amati
Family, was the son of Nicolaus Amati. The viola included here (Plate 5) is
an excellent example of his work. The description is:

String length — 39.8 cm. (15 11/16 in.)

Body length — 44.2 cm. (17 3/8 in.)

Upper bout — 21.7 cm. ( 8 1/2 in.)

Middle bout — 14.4 cm. ( 5 11/16 in.)

Lower bout — 25.8 cm. (10 1/8 in.).

The color is golden orange. The top is of pine, the back and ribs are of
maple. There is a large beautiful knot in the upper right bout of the top.

The History of the Viola

This instrument produces a beautiful resonant sound when it is played
by its owner, Toby Appel.

Fewer Violas!

After 1600 two important developments occurred in music which had a
profound effect on the demand for violas. First, four-part writing gradually
replaced five-part music, eliminating one of the two middle voices, which
were usually assigned to the violas. The second development was the emer¬
gence of the Trio Sonata as the most popular small ensemble form. It was
usually written for two violins and a continuo part for keyboard instruments
(sometimes reinforced by a gamba or a cello). The popularity of the Trio
Sonata helped to create an ever increasing demand for more violins and a
corresponding decrease in the demand for violas. As a result, luthiers made
fewer and fewer violas. Some makers, including Giuseppe del Gesu, made
no violas.

The decrease in the production of violas by the middle of the 17th
century, and into the 18th century, is best illustrated by a comparison of the
total number of instruments extant made by Stradivarius. The comparative
numbers are: 18 violas, 630 violins, and 36 cellos.

The Guarneri Family

Andrea
of Cremona
(1626-98)

Giuseppe Giovanni Battista
of Cremona
(1666-1739/40)

Pietro II Giuseppe del Gesu

of Venice of Cremona

(1695-1762) (1698-1744)

The Guarneri Family comprised five luthiers during three generations
that rank with the greatest of all makers. The violins of Giuseppi del Gesu
compare favorably with those made by Stradivarius, but he did not make any
violas; in fact, the Guarneris probably made fewer than a dozen violas.7 Most
of these were made by Andrea, founder of the the Guarneri family of luthi¬
ers. The small number of violas made by Andreas makes them particularly

Pietro I
of Mantua
(1655-1720)

Riley, Op. cit. pp. 52-59 for more about the Guarneri Family violas.

The Viola

precious today. Furthermore, the tone quality of his violas is as good as or
better than most of those made by Stradivarius. Two of his violas were
owned by the late Georges Janzer and the late Dr. William Primrose. The
latter instrument is the subject of a monograph, The Primrose Andrea
Guarneri, Cremona, 1697. 8

The monograph contains colored photographs of the 1697 Guarnerius as
well as descriptive material and interesting historical background regarding
Primrose’s acquisition of the instrument. The quality of the viola was best
summed up by the statement:

“Indeed, during the celebrated concerts given at various times by Dr. Primrose and
Jascha Heifetz, the Primrose Guarneri viola proved to be a perfect compliment to Heif¬
etz’s famous del Gesu violin.”9

Luthiers continued to make large size violas (tenors) throughout the
17th and early 18th centuries, but by the middle of the 18th century the lack
of demand for the large size resulted in most of the tenors being reduced to
smaller dimensions to make them easier to play the music being written for
the viola. Very few tenors exist today that have not been cut down from body
lengths as great as 48.3 cm. (19 in.). Three exceptions appear in this book:
Andrea Guarneri (1664), Antonio Stradivarius (1690), and Jacobus Stainer
(c.1650).

The tenor viola in Plate 6 made by Andrea Guarneri, Cremona, 1664,
is one of the few early Cremonese instruments to survive in unaltered form.
(See also the Stradivarius Medici Tenore.) It is an uncut tenor viola with all
of its original fittings, including neck, fingerboard, nut, tailpiece, button,
and pegs. The top and the back are spliced in both of the upper and lower
bouts. The top is of two-piece spruce; the back is of two-piece maple. The
color of the varnish is medium golden brown.

Its dimensions are:

String length — 42 cm. (16 1/2 in.)

Body length — 48.2 cm. (19 in.)

Upper bout — 24.2 cm. ( 9 1/2 in.)

Middle bout — 16.6 cm. ( 6 1/2 in.)

Lower bout — 28.1 cm. (11 1/16 in.)

Upper ribs — 4.1 cm. ( 1 5/8 in.)

Lower ribs — 4.3 cm. ( 1 11/16 in.).

8Robert Bein and Geoffrey Fushi, The Primrose Andrea Guarneri, Cremona, 1697, (Chicago: Bein &
Fushi, 1983.)

9Ibid., p. 13.

The History of the Viola

Plate 6. Tenor Viola by Andrea Guarneri, Cremona, 1664.
Photographs furnished by The Shrine to Music Museum (No. 3354).

This tenor viola was in the possession of the Count Canal Family of
Venice, probably from the time of manufacture. It was bought from this
family by the Bisiach family in the 1940 s. Witten acquired it from the
Bisiach Collection with the assistance of Rembert Wurlitzer in 1967. It is
now in The Shrine to Music Museum as a part of the Witten-Rawlins Col¬
lection.

Stradivarius

In 1690 the Grand Duke Cosimo III commissioned Stradivarius to build
a set of five instruments: two violins, a cello, and two violas (a contralto and
tenor e), for the Medici court in Florence.

The Viola

Plate 7. The Stradivarius “Tuscan Contralto,” made for the Medici Court, Cremona, 1690.
Photographs taken at The Library of Congress by George M. Riley, with the permission and
assistance of Robert Sheldon, Curator of the Musical Instrument Collection.

The Medici “Tuscan” Contralto Viola, by Antonio Stradivarius (1644—
1737), Cremona 1690 (Plate 7), now has a “modern” length neck and finger¬
board. Its present dimensions are:

String length — 37.6 cm. (14 13/16 in.)

Body length — 41.3 cm. (16 1/4 in.)

Upper bout — 18.5 cm. ( 7 1/4 in.)

Middle bout — 13.1 cm. ( 5 1/8 in.)

The History of the Viola

Plate 8. The Stradivarius “Tuscan Tenore,” made for the Medici Court, Cremona, 1690.

The Viola

Lower bout — 24.2 cm. ( 9 1/2 in.)

Upper ribs — 4.5 cm. ( 1 3/4 in.)

Lower ribs — 4.7 cm. ( 1 13/16 in.).

The varnish is a yellow-golden color. The top is of spruce, the back is of
two-piece maple. The tone is of typically beautiful Strad quality, and is
particularly well suited to blend in string quartet playing.

According to the Hills10 the “small” viola was purchased by Mr. Bright,
an Englishman, in Florence in 1803 from the Cavaliere Giantighazzi. Sub¬
sequently it passed to a Mr. Betts, then to a Mr. Bright, then to a Mr.
Glennie, who later sold it to F. de Rougemont, a French collector of Strads.
It was brought to the United States by Wurlitzer.

The contralto was acquired by Herbert N. Strauss, completing a string
quartet of Stradivarius instruments. Cameron Baird, who was Chairman of
the Music Department of the University of Buffalo, purchased this viola in
1957. Prof. Baird played the Tuscan contralto until his death in 1960, and
also loaned it to quartet artists such as Boris Kroyt and Alexander Schneider.
This viola, with a Tourte bow, was first loaned to the Library of Congress in
1977 to be used by Samuel Rhodes of the Juilliard String Quartet, while the
Library of Congress’s Cassavetti Stradivarius viola (of the Gertrude Clark
Whitall quartet of Stradivari instruments) was being repaired.

The Medici “ Tuscan ’ Contralto, a part of the Mrs. Cameron Baird
Collection, is now on loan to The Library of Congress, and is available for
use by artist violists.

The Medici “Tuscan” Tenore Viola by Antonio Stradivarius, Cremona,
1690 (Plate 8) is one of the few uncut Cremonese violas with all its original
fittings. Its dimensions are:

Body length — 47.8 cm. (18 13/16 in.)

Upper bout — 21.9 cm. ( 8 5/8 in.)

Lower bout — 27.2 cm. (10 11/16 in.).

The Tenore, and the cello also from the original set of instruments
ordered by the Medici family, are now on display in the Museo del Conser-
vatorio di Musica Luigi Cherubini in Florence, Italy.* 11

10W. Henry, Arthur F., and Alfred E. Hill, Antonio Stradivari, His Life and Work, p. 94.

11 Maurice W. Riley, Op. cit, pp 90-93. For more about the Medici Tuscan Tenore.

CHAPTER II

VIOLA MAKING IN BRESCIA IN THE
16TH AND 17TH CENTURIES

The Gasparo da Salo School

IBrescia, Italy, is a city 48 kilometers (30 miles) north of Cremona (See
map, Plate 9). Luthiers in Brescia began to produce instruments in the violin
pattern almost as early as Andrea Amati had in Cremona. Members of the
Zanetto family in Montichiari, a village near Brescia, may have made violas
as early as c. 1550.

It was Gasparo da Salo (1540-1609), however, who led the way in
developing the Brescian school of violin making. His violas and those made
by his apprentices and others who were influenced by his models constitute
a major part of the total number of violas extant from the 16th and the early
17th centuries.1

The dimensions of the da Salo viola, made in Brescia before 1609,
shown in Plate 10 are:

String length — 38.43 cm. (15 1/8 in.)

Body length — 44.45 cm. (17 1/2 in.)

Upper bout — 21.74 cm. ( 8 9/16 in.)

Middle bout — 14.05 cm. ( 5 17/32 in.)

Lower bout — 25.2 cm. ( 9 15/16 in.)

Upper rib — 3.18 cm. ( 1 1/4 in.)

Lower rib — 3.18 cm. ( 1 1/4 in.).

The color is red-orange-brown, gold shaded. The top is of two piece
pine, the back is of one piece maple, the ribs are of spotted maple. It has
double purfling, with an elaborate clover-leaf design at top and bottom of
the back.

This viola is certified by Silvestre and Mancotel, Paris, 1921; Hill &

1Maurice W. Riley, op. cit., pp. 27-50, for more information about Gaspar da Salo and the Brescian
School.

Viola Making in Brescia

Plate 9. Map: The Principal Cities of Italy, Austria, and Southern Germany Where Violin
Making Flourished during the 16th Century to the Present.

Computer drawing by Carolyn Riley.

The History of the Viola

Plate 10. Viola by Gasparo da Said, Brescia, Before 1609.
Photographs furnished by The Shrine to Music Museum (No. 3368).

Sons, London, 1929; Rudolph Wurlitzer, New York, 1929; and Jacques
Frangais, Paris, 1960. It was owned by Joseph Joachim c. 1880, and more
recently by Joseph Vieland, from whom Laurence C. Witten II acquired it
through Jacques Frangais in 1960. The Shrine to Music Museum purchased
it in 1984 as part of the Witten-Rawlins Collection.

Da Salo instruments are much in demand today. Their big resonant
tone makes them particularly desirable for chamber music. Some of them
are also played in major symphony orchestras. Following is a list of some of
the contemporary owners of da Salo violas:

Viola Making in Brescia

Plate 11. Viola of the School of Gasparo da Said, Brescia, Late 16th Century.
Photographs furnished by Yizhak Schotten.

Steven Ansell, Massachusetts
Paolo Centurioni, Rome, Italy
James Dunham, New York
Lillian Fuchs, New York
Rocco Germano, Indiana
Pamela Goldsmith, California
Nathan Gordon, Michigan
Raphael Hillyer, Massachusetts
Stephen Kondaks, Arizona

Moscow

Eugene Lehner, Massachusetts
Virginia Majewski, California
Peter Tobias Pfuhl, Australia
Yizhak Schotten, Michigan
William G. Selden, Connecticut
Barbara Westphal, Grefalfing,
Germany

Los Angeles Philharmonic
Leningrad Russian State Orchestra
Conservatory.

The dimensions for the Yizhak Schotten viola (Plate 11) of the school of
Gasparo da Salo, Brescia, late 16th century, are:

String length — 38.7 cm. (15 3/16 in.)
Body length — 43.2 cm. (17 in.)
Upper bout — 20.5 cm. ( 8 1/16 in.)
Middle bout — 15 cm. ( 5 7/8 in.)

The History of the Viola

Lower bout — 25 cm. ( 9 13/16 in.)

Upper ribs — 3.3 cm. ( 1 1/4 in.)

Lower ribs — 3.8 cm. ( 1 1/2 in.).

The varnish is a transparent golden-brown in color. The bottom is
heart-shaped, reminiscent of the lira da braccio and the viola-lira models.
The one-piece maple back is rather plain and irregular in its texture and
shows prominent curls in the lower left side. A small wing was originally
added to the right lower bout. The purfling has been omitted in the back.
The wood used in the sides matches that of the back, whereas the scroll is
carved of plainer maple and shows the exquisite character of the early
Brescian workmanship. The top is of one piece, strong grained spruce, the
grain widening from the base to the treble side.

It was formerly owned by Louis Svencenski of the Kneisel String Quar¬
tet, and later by Raymond Pitcarin of Bryn Athyn, Pennsylvania. It was
certified by Helmuth A. Keller, and is now owned by Yizhak Schotten.

Brescian School viola models influenced luthiers in other cities. Anto¬
nio and Luigi Mariani of Pesaro, 200 kilometers (125 miles) southeast of
Brescia, made instruments that have been mistaken for da Salos. Giovanni
Paolo Maggini’s violas are credited by the Hills with influencing later Cre¬
mona models made by Andrea Guarneri and Stradivari.2

Today there are probably more Brescian violas extant than violins and
cellos. This may be because violas were not used as much as violins and
cellos during the 17th and 18th centuries, and, as a result, violas were not as
subject to the attrition and the ravages of time.

In addition to violas made in Brescia, the following examples represent
the cities of Montichari, Pesaro, Venice, and Padua.

Zanetto

The members of the Zanetto family are among the earliest luthiers to
make instruments of the violin model. Very little is known about them.
According to Laurence Witten3 Peregrino or Pellegrino de Micheli was born
c. 1520-22 in Montichiari, a small town near Brescia. He died in Brescia,
c. 1615. His father, Zanetto (c. 1489-1564), a luthier who made viols, moved
to Brescia shortly after Peregrino was born. In 1530 Peregrino followed his
father to Brescia, where the family home and shop was located on the via
Santo Antonio (now called Cairoli). Vannes stated that the first instruments

2Margaret L. Higgins, Gio. Paolo Maggini, His Life and Work (London: W.E. Hill & Sons, 1976), p. 72.

3Laurence C. Witten II, “The Surviving Instruments of Andrea Amati,” Early Music (October 1982), pp.
487-494.

Viola Making in Brescia

known to have been made by Peregrino are three viols with labels dated
1547, 1549, and 1550. 4 These instruments are in the Musee du Conserva¬
toire de Paris. Father and son may have worked together on the first violas
to come out of their shop. It is doubtful that there are any Zanetto cellos
extant. Vannes stated that there is one known violin which is signed, “Pelle¬
grino, Brescia, 1600 ”. There are, however, Zanetto violas. They are de¬
scribed below (Plates 12-15), and also there is a very fine one owned by
Samuel Rhodes, violist in the Juilliard String Quartet. Violas attributed to
the Zanettos are usually classed as part of the early Brescian tradition.

The Zanetto viola shown in Plate 12, made by the Father of Peregrino
in Brescia, late 16th century, has been reduced in size. The only dimension
available is its body length: 42 cm. (16 1/2 in.). Its varnish is a deep reddish
brown color. The back and sides are of native maple, the top is of native
spruce. The upper bout is much wider than later models of most makers,
indicating that the instrument could not be played in the higher positions, at
least under the chin, or it might have been played by holding it like a cello
is held. The f-holes are wider and shorter than in traditional models.

The dimensions of the Peregrino Zanetto viola, made in Brescia be¬
tween 1560-80, shown in Plate 13 are:

String length — 35.8 cm. (14 1/16 in.)

Body length — 41.4 cm. (16 7/16 in.)

Upper bout — 19.5 cm. ( 7 11/16 in.)

Middle bout — 13.8 cm. ( 5 7/16 in.)

Lower bout — 24.2 cm. ( 9 1/2) in.).

Its color is orange-brown on a golden background. The top is of two-
piece pine with uneven grain. The back is of two-piece maple with a small
flame straight across the viola.

The instrument is certified by Jacques Frangais. It is owned by Ellen
Rose, principal violist of the Dallas Symphony.

The Peregrino Zanetto viola (Plate 14) made in Brescia, late 16th cen¬
tury, has been reduced in size and probably was originally a lyra-viol. Its
dimensions are:

Body length — 42.2 cm. (16 5/8 in.)
Upper bout — 19.6 cm. ( 7 3/4 in.)
Middle bout — 13.9 cm. ( 5 1/2 in)
Lower bout — 24.6 cm. ( 9 11/16 in.).

‘Rene Vannes, Dictionnaire Universelle des Luthiers (Bruxxels: Les Amis de la Musique, 1951), p. 272.

The History of the Viola

The color is a brownish orange. The back and sides are of slab maple,
the top is of strong grained spruce. It has double purfling, and the top and
bottom of the back has an inset maple-leaf design.

This viola was certified by William Moennig.

The dimensions of the Peregrino Zanetto de Micheli viola, made in
Brescia after 1564, shown in Plate 15 are:

String length — 38.1 cm. (15 in.)

Body length — 44.15 cm. (17 3/8 in.)

Upper bout — 21.29 cm. ( 8 3/8 in.)

Middle bout — 14.2 cm. ( 5 9 1/16 in.)

Lower bout — 25.25 cm. ( 9 15/16 in.).

The color is a rich deep brown. The top is one piece pine, the back is
two-piece slab-cut sycamore (a variety of maple).

The sound holes were altered c. 1940 “due to a caprice of the owner,
Ray Nurse, who stated, ‘The effect of the recutting was to lower the f-holes
by 13 mm. (1/2 in.) The new f-holes lean in more’”5

This viola was exhibited in London in 1904. It was certified by W.E.
Hill, London, 1934. Alfred Hill called this the earliest viola he had ever
seen. Witten acquired it from Rembert Wurlitzer in 1962. It was purchased
by The Shrine to Music Museum in 1984 from Witten as a part of the
Witten-Rawlins Collection.

Ventura di Francesco Linarol(o) (fl. c. 1560-83) worked in Venice and
Padua. He cannot be classed as being either a Cremonese or a Brescian
luthier. He may, however, have influenced the early Brescia makers with
the designs of his instruments.

The viola shown in Plate 16 was made by Linarol(o) in Venice, 1577. It
has been reduced in size and its present scroll was added later. The present
dimensions are:

Body length — 41.1 cm. (16 3/16 in.)

Upper bout — 20.7 cm. ( 8 1/8 in.)

Middle bout — -15.4 cm. ( 6 1/16 in.)

Lower bout — -24.6 cm. ( 9 11/16 in.)

The varnish is a warm orange-brown color. The back and sides are of
slab-cut maple, the top is of spruce.

The very wide upper bout is indicative that this model was not intended
for use in higher positions. It might originally have been a lira da braccio, an

'Laurence C. Witten II., The Shrine to Music Notes.

Viola Making in Brescia

instrument that was a precursor of the violin family. Several of Linarofs lira
da braccios survive, including a beautiful example in The Shrine to Music
Museum dated 1563.

Giovanni Paolo Maggini (1580-1632), Brescia, did not write the date on
his labels. The date, 16?8, on the instrument’s label (Plate 17) was written at
a later period by someone other than Maggini. This viola has not been cut
down. Its dimensions are:

String length — 39 cm. (15 3/8 in.)

Body length — 43.8 cm. (17 1/4 in.)

Upper bout — 20.7 cm. ( 8 1/8 in.)

Middle bout — 15 cm. (10 1/4 in.)

Lower bout — 26 cm. (10 1/4 in.).

The varnish is a red-brown color. According to the present owner,
Ervin Schiffer, “It is one of the most beautiful violas in the world. ’’ Schiffer
is Professor of Viola at the Brussels Conservatory Royale de Music, where he
is Professor Estraordinaire: Chapelle Musical Reine Elisabeth.

This instrument has been certified by several French dealers of bowed
instruments, including: Ancienne Maison de Lupot et Gand Freres, Paris,
1864; and Ancien Chef d’Atelier de le Maison Carare J. Pineau, 1939. It was
also certified by Max Moller, Amsterdam, 1964; and it was discussed in
Poutoise Correspondence, 1948-1964.

The Brescian School viola, c. 1650, in Plate 18, has been cut down. A
different scroll has been added. The f-holes are cut perpendicular to the
sides, a characteristic of many of the luthiers of the Brescian school. The
present dimensions are not available.

The dimensions of the Antonio Mariani viola in Plate 19, made in Pe-
saro, 1666, are:

Body length — 43.9 cm. (17 1/4 in.)

Upper bout — 21.1 cm. ( 8 1/4 in.)

Middle bout — 14 cm. ( 5 1/2 in.)

Lower bout — 26.4 cm. (10 3/8 in.).

This viola is constructed on a da Salo model with a spruce top and a
maple back, and has a brownish varnish. It has double purfling and an
interesting inlay design on the back.

Antonio Mariani was reputed, according to Walter Hamma, to have
been an apprentice of Maggini.6 His violas are particularly esteemed, and
sometimes have been wrongly identified as being the work of Gasparo da
Salo.

6Walter Hamma, Meister Italienischer Geigenbaukunst (Munich: Schuler Verlagsgesellschaft, 1965), pp.
481-483.

The History of the Viola

It has been certified by Hill & Sons of London, and by Hans Weisshaar
of Los Angeles.

Conclusion

Gasparo da Salo has been called “The Father of the Viola. ” It is now
known that Andrea Amati, in Cremona, made violas before Gasparo was
born. So, Gasparo can no longer be credited with having made the first
violas. He can, however, be credited with having had a major influence on
many luthiers in the 16th and early 17th centuries in developing what is
known as the “The Brescian School of Violin Making”. It could more accu¬
rately be called “The Brescian School of Viola Making” because of the large
number of Brescian violas extant that are still being played.

Viola Making in Brescia

Plate 12. Viola by the Father of Peregrino Zanetto, Brescia, late 16th century.
Photographs furnished by William Moennig & Son.

The History of the Viola

Plate 13. Viola by Peregrino Zanetto, Brescia, between 1560-80.
Photographs furnished by Jacques Frangais, by permission of Ellen Rose.

Viola Making in Brescia

Plate 14. Viola by Peregrino Zanetto, Brescia, late 16th century.
Photographs furnished by William Moennig & Son.

The History of the Viola

Plate 15. Viola by Peregrino di Zanetto de’ Micheli, Brescia, after 1564.
Photographs furnished by The Shrine to Music Museum. (No. 3367).

Viola Making in Brescia

Plate 16. Viola by Venture d’Francesco Linarol(o), Venice, 1577.
Photographs furnished by Moennig & Son.

The History of the Viola

Plate 17. Viola by Giovanni Paolo Maggini, Brescia, 16?8.
Photographs furnished by Ervin Schiffer.

Viola Making in Brescia

Plate 18. Viola of the Brescian School, c. 1650.
Photographs furnished by Bein & Fushi. (No. 3652).

Plate 19. Viola by Antonio Mariani, Pesaro, 1666.

Photographs furnished by Hans Weisshaar, with permission of Mary Elliott James.

CHAPTER III

ITALIAN VIOLAS FROM C.1700
TO THE PRESENT

TFoday violas made in the 18th century by famous Italian makers, when
available, are selling for astronomical prices. This is due to two factors: their
increasing scarcity; and the fine tone quality of a majority of these instru¬
ments. Violas dating from the 18th century are scarcer than violins and cellos
made during the same period because fewer were made.1

In the 18th century Cremona continued to dominate the violin making
industry. The craft, however, had already spread throughout northern and
central Italy, and as far south as Rome and Naples.

The luthiers in this Chapter are presented, as far as is possible, in
chronological order of the dates the instruments were made, not alphabet¬
ically, nor by city. Omissions of prominent luthiers indicate that either they
did not make violas, or that photographs and descriptive information was not
available at the time this book went to press. The violas cited and described
represent some of the most famous Italian makers of the 18th century, most
of whom made fewer than ten violas that are extant.

The viola shown in Plate 20 was made c. 1699 by Joannes Tononi (1689-
1720) in Bologna. Its dimensions are:

Body length — 41.7 cm. (16 3/8 in.)

Upper bout — 19.6 cm. ( 7 23/32 in.)

Middle bout — 13.3 cm. ( 5 3/16 in.)

Lower bout — 24.4 cm. ( 9 9/16 in.)

The Joannes Tononi viola made c.1710 is shown in Plate 21. Its dimen¬
sions are:

Body length — 41.4 cm. (16 1/4 in.)
Upper bout — 19.5 cm. ( 7 11/16 in.)
Middle bout — 13.7 cm. ( 5 3/8 in.)
Lower bout — 24.3 cm. ( 9 9/16 in.).

1See Chapter I, “Fewer Violas.”

The History of the Viola

The varnish is light golden to medium orange-brown in color. The back
is of two pieces of maple marked with small and irregular figures with a
knot-like figurement in the lower portion. The top is one-piece spruce with
narrow grain on the treble side widening to the bass side.

It was certified by Max Moller and William Moennig, 1955. It is now
the property of Emil Cantor, Professor of Viola at Trossingen Hochschule fur
Musik in Diisseldorf, Germany, as well as free-lance teaching in The Neth¬
erlands, France, and Denmark.

The viola by Matteo Goffriller (1670-1742) in Plate 22 was made c. 1701
in Venice, and has not been cut down. Its dimensions are:

Body length — 40.8 cm. (16 1/32 in.)

Upper bout — 19.4 cm. ( 7 5/8 in.)

Middle bout — 13.7 cm. ( 5 3/8 in.)

Lower bout — 23.9 cm. ( 9 3/8 in.)

Today Goffriller is considered by many experts to have been one of the
premier makers of cellos. This recognition came after 1800 when it was
discovered that many cellos with labels of other great makers had been
placed in his instruments to make them sell for higher prices. His violas, few
in number, are generally of high quality.

The ex-Max Aronoff viola made by Giovanni Grancino (1670-1737) in
Milan, 1707, is shown in Plate 23. It has not been reduced. Its dimensions
are:

Body length — 42.9 cm. (16 7/8 in.)

Upper bout — 19.6 cm. ( 7 11/16 in.)

Middle bout — 13.5 cm. ( 5 5/16 in.)

Lower bout — 24.4 cm. ( 9 9/16 in.).

The back and sides are of maple, the top is of spruce. The purfling is
beautifully ornamented with tiny scrolls. There is an inlaid rosetta, which is
now covered by the “modern” fingerboard, but would have been in view
with the shorter original fingerboard.

Photographs of this viola also appear in the Walter Hamma book.

The Giovanni Grancino viola c. 1712 in Plate 24 has no label. The di¬
mensions are:

String length — 37 cm. (14 9/16 in.)

Body length — 40.7 cm. (16 in.)
Upper bout — 19 cm. ( 7 1/2 in.)

Middle bout — 13.5 cm. ( 5 5/16 in.)
Lower bout — 23.5 cm. ( 9 1/4 in.).

Italian Violas from c. 1700 to the Present

The varnish is a caramel color. The top is formed of two pieces of spruce
with the medium grain broadening toward the flanks. The back is formed by
two pieces of quarter-cut maple with no figure. The ribs and original scroll
are of similar stock.

The viola in Plate 25 made by Paolo Antonio Testore (1690-1760) in
Milan, 1743, has not been reduced. Its dimensions are:

Body length — 41.5 cm. (16 5/16 in.)

Upper bout — 19.6 cm. ( 7 3/4 in.)

Middle bout — 13.6 cm. ( 5 5/16 in.)

Lower bout — 24.5 cm. ( 9 5/8 in.).

The varnish is golden-brown. The back and sides are of maple, the top
is of spruce.

Carlo Antonio Testore (1688-1764) was the maker of the viola in Plate
26. The label, dated c. 1760, is not the original. The photographs were taken
after restoration. The body length is 41.9 cm. (16 1/2 in.). The scroll is of
beech wood.

Geoffrey Fushi believes that “the Testore violas rank as high or higher
than his excellent violins and cellos. They are well sized, wonderfully
crafted, acoustically and more Cremonese in quality than the generally dark
sounding Brescian violas.” (Letter to the author dated, March, 1990.)

The viola made by Antonio Ungarini (1696-1771) in Fabriano, c.1740,
is shown in Plate 27. Its dimensions are:

String length — 39 cm. (15 3/8 in.)

Body length — 44.8 cm. (17 5/8 in.)

Upper bout — 21.2 cm. ( 8 5/16 in.)

Middle bout — 15 cm. ( 5 7/8 in.)

Lower bout — 26.2 cm. (10 5/16 in)

Upper ribs — 3.6 cm. ( 1 3/8 in.)

Lower ribs — 3.8 cm. ( 1 1/2 in.)

The corners and the bottom are decorated on both the top and the back.

This viola was certified by Jacques Frangais. It is now the property of
James van Valkenburg, Assistant Principal Violist of the Detroit Symphony
Orchestra.

The viola in Plate 28 was made by Pietro Antonio della Costa (1700-
1768) in Treviso, c. 1750. It has not been reduced. The dimensions are:

The History of the Viola

Body length — 41 cm. (16 1/8 in.)

Upper bout — 19.8 cm. ( 7 3/4 in.)

Middle bout — 13.5 cm. ( 5 5/16 in.)

Lower bout — 23.7 cm. ( 9 5/16 in.).

The color of the varnish is medium dark orange-brown. The back and
sides are of cherry wood, the scroll is of native maple, the top is of spruce.

The viola in Plate 29 was made by Giovanni Battista Gabrielli (1736-87)
in Florence, 1761. It has not been reduced. Its dimensions are:

Body length — 39.8 cm. (15 13/16 in.)

Upper bout — 18.4 cm. ( 7 1/4 in.)

Middle bout — 12.8 cm. ( 5 in.)

Lower bout — 22.8 cm. ( 9 in.).

Gabrielli was not a prolific maker, but he made quality instruments.
Very few of his violas are extant.

The viola in Plate 30 was made by Joannes Baptista Guadagnini II
(1711-86) in Parma, c.1763. Its dimensions are:

Body length — 41.2 cm. (15 3/16 in.)

Upper bout — 19.4 cm. ( 7 5/8 in.)

Middle bout — 13.9 cm. ( 5 7/16 in.)

Lower bout — 24.3 cm. ( 9 9/16 in.).

J. B. Guadagnini II made violas in five different cities: Piacenza (1740—
49), Milan (1750-58), Cremona (1758-59), Parma (1759-71), and finally,
Turin (1771-86). In all of that time, he is known to have made only nine
violas. His violas are smaller than those made by most Italian makers. They
have, however, a resonant tone in all registers on all four strings.2

The viola shown on Plate 31 was made by Joannes Baptista Guadagnini
II in Turin, 1774. Its dimensions are:

Body length — 40.3 cm. (15 7/8 in.)

Upper bout — 18.8 cm. ( 7 7/16 in.)

Middle bout- — 13.6 cm. ( 5 5/16 in.)

Lower bout — 23/6 cm. ( 9 1/4 in.).

2Maurice W. Riley, op. cit. pp. 65-68, for a description of the Guadagnini viola which belongs to
Bernard Zaslav.

Italian Violas from c. 1700 to the Present

The varnish is orange-brown in color. The top is of two-piece spruce,
the back is of one-piece maple.

Caressa & Frangais of Paris certified the instrument in 1926 when they
sold it to John Wanamaker of Philadelphia. The certificate states: “Viola in
mint condition, having belonged to Monsieur Chavy, principal violist of the
Paris Opera and the Concerts of the Conservatoire for more than twenty
years.” Wanamaker sold it to Rudolph Wurlitzer, 1933, who sold it to John
T. Roberts. Albert Gillis has owned the viola since 1956.

The viola in Plate 32 was made by Carlo Ferdinando Landolfi (1714-
1787) in Milan, 1765. It has not been reduced. Its dimensions are:

Body length — 41.2 cm. (16 3/16 in.)

Upper bout — 19.7 cm. ( 7 33/4 in.)

Middle bout — 13.2 cm. ( 5 3/16 in.)

Lower bout — 25 cm. ( 9 13/16 in.).

The varnish is reddish-brown. The back and sides are of maple, the top
is of pine.

The viola in Plate 33 was made by Tommaso Balestrieri (1730-80) in
Mantua, c. 1765. It has not been reduced in size. Its dimensions are:

Body length — 41 cm. (16 1/8 in.)
Upper bout — 19.5 cm. ( 7 11/16 in.)
Middle bout — 13.5 cm. ( 5 5/16 in.)
Lower bout — 24.4 cm. ( 9 5/8 in.).

The varnish is orange-reddish brown. The back and sides are of maple,
the top is of spruce.

The viola in Plate 34 was made by Lorenzo (1737-75) and Tommaso
(1747-89) Carcassi in Florence, c.1765. Its dimensions are:

Body length — 39.4 cm. (15 1/2 in.)
Upper bout — 18.3 cm. ( 7 5/16 in.)
Middle bout — 13.1 cm. ( 5 1/8 in.)
Lower bout — 22.7 cm. ( 8 15/16 in.).

This is a beautiful example of the fine workmanship of the Carcassi
Brothers.

The viola in Plate 35 was made by Pietro Joannes Mantegazza (fl.
c. 1757-c. 1800), Milan, 1771. Its dimensions are:

The History of the Viola

Body length — 40.4 cm. (15 7/8 in.)

Upper bout — 18.3 cm. ( 7 3/16 in.)

Middle bout — 12.4 cm. ( 4 7/8 in.)

Lower bout — 22.9 cm. ( 9 in.).

This instrument and the Mantegazza shown in Plate 36 have longer
body length than the one in Plate 37. The latter is of similar measurements
to many violas of the late 18th century.

The P. J. Mantegazza viola shown in Plate 36 was made in Milan,
c.1780. It carries a facsimile Rogeri label. Its dimensions are:

Body length — 40.2 cm. (15 13/16 in.)

Upper bout — 19.2 cm. ( 7 9/16 in.)

Middle bout — 12.8 cm. ( 5 in.)

Lower bout — 23.9 cm. ( 9 3/8 in.).

The P. J. Mantegazza viola in Plate 37 was made in Milan, 1793. Its
dimensions are:

String length — 37 cm. (14 9/16 in)

Body length — 41.3 cm. (16 1/4 in.)

Upper bout — 19.2 cm. ( 7 9/16 in.)

Middle bout — 12.5 cm. ( 4 15/16 in.)

Lower bout — 24 cm. ( 9 7/16 in.).

This instrument was certified by John and Arthur Beare in 1965. It
belonged to an “old noble family” at the time of the Stradivari Bicentennial
in 1937. It was acquired by Andrea Bisiach after the exhibition from the
Contessa Olignati of Como, Italy. It was purchased by J. and A. Beare in
1964 and sold to Laurence Witten in 1965. The Shrine to Music Museum
purchased it in 1984. It is now a part of the Witten-Rawlins Collection.

The viola in Plate 38 was made by Lorenzo Storioni (1751-1802) in
Cremona in 1783. Its dimensions are:

String length — 35.9 cm. (14 1/4 in)

Body length — 39.1 cm. (15 3/8 in.)

Upper bout — 18.1 cm. ( 7 1/8 in.)

Middle bout — 13 cm. ( 5 1/8 in.)

Lower bout — 23.4 cm. ( 9 3/16 in.).

The varnish is reddish brown.

It was certified by Max Moller, Amsterdam, 1981. It was owned by
Michel Samson, 1981-88, and purchased by Barbara Zmich in 1988. Ms.

Italian Violas from c.1700 to the Present

Zmich, formerly a violist in the Dutch Radio Symphony, is at present in the
Louisville Symphony.

For such a small instrument it has an incredibly large, open, even
sound. It is in a remarkable state of preservation.

The uncut viola in Plate 39 was made by Lorenzo Storioni in Cremona
in 1784. Its dimensions are:

String length — 37.2 cm. (14 5/8 in)

Body length — 41.3 cm. (16 1/4 in.)

Upper bout — 18.9 cm. ( 7 7/16 in.)

Middle bout — 13 cm. ( 5 1/8 in.)

Lower bout — 22.4 cm. ( 8 13/16 in.).

The varnish is an orange-brown color. The top is formed of two pieces
of spruce with medium grain broadening toward the flanks. The back is
formed by one piece of maple with a slightly irregular medium curl. The ribs
and the original scroll are of similar stock.

The viola in Plate 40 was made by Lorenzo Storioni in Cremona,
c. 1785. It has been cut down. Its present dimensions are:

Body length — 42 cm. (16 1/2 in.)

Upper bout — 20 cm. ( 7 7/8 in.)

Middle bout — 14.1 cm. ( 5 1/2 in.)

Lower bout — 24.6 cm. ( 9 5/8 in.).

The History of the Viola

Plate 20. Viola by Joannes Tononi, Bologna, c. 1699.
Photographs furnished by Bein & Fushi. (No. 7110).

Italian Violas from c. 1700 to the Present

Plate 21. Viola by Joannes Tononi, Bologna, c. 1710.
Photographs furnished by Emile Cantor.

The History of the Viola

Plate 22. Viola by Matteo Goffriller, Venice, c. 1701.
Photographs furnished by Bein & Fushi. (No. 7474).

Italian Violas from c. 1700 to the Present

Plate 23. Viola by Giovanni Grancino, Milan, 1707.
Photographs furnished by Moennig & Son.

The History of the Viola

Plate 24. Viola by Giovanni Grancino, Milan, c. 1712.
Photographs furnished by Bein & Fushi. (No. 1787).

Italian Violas from c. 1700 to the Present

Plate 25. Viola by Paolo Antonio Testore, Milan, 1743.
Photographs furnished by Moennig & Son.

The History of the Viola

Plate 26. Viola by Carlo Antonio Testore, Milan, c. 1760.
Photographs furnished by Bein & Fushi. (No. 7964).

Italian Violas from c.1700 to the Present

Plate 27. Viola by Antonio Ungarini, Fabriano, c. 1740.
Photographs furnished by Jacques Fran§ais.

With Permission of James van Valkenburg.

The History of the Viola

Plate 28. Viola by Pietro Antonio della Costa, Treviso, c. 1750.
Photographs furnished by William Moennig & Son.

Italian Violas from c. 1700 to the Present

Plate 29. Viola by Giovanni Battista Gabrielli, Florence, 1761
Photographs furnished by William Moennig & Sons.

The History of the Viola

Plate 30. Viola by Joannes Baptista Guadagnini II, Parma, c. 1763.
Photographs furnished by Bein & Fushi. (No. 7269).

grnm

Italian Violas from c. 1700 to the Present

Plate 31. Viola by Joannes Baptista Guadagnini II, Turin, 1774.
Photographs furnished by Albert Gillis.

The History of the Viola

Plate 32. Viola by Carlo Ferdinand Landolfi, Milan, 1765.
Photographs furnished by William Moennig & Son.

Italian Violas from c. 1700 to the Present

Plate 33. Viola by Tomasso Balestrieri, Mantua, c. 1765.
Photographs furnished by William Moennig & Son.

lift

The History of the Viola

Plate 34. Viola by Lorenzo & Tommaso Carcassi, Florence, c. 1765.
Photographs furnished by Bein & Fushi. (No. 7209).

Italian Violas from c.1700 to the Present

Plate 35. Viola by Pietro Giovanni Mantegazza, Milan, 1771.
Photographs furnished by Bein & Fushi. (No. 6792).

The History of the Viola

Plate 36. Viola by Pietro Giovanni Mantegazza, Milan, c. 1780.
Photographs furnished by Bein & Fushi. (No. 7028).

Italian Violas from c. 1700 to the Present

Plate 37. Viola by Pietro Giovanni Mantegazza, Milan, 1793.
Photographs furnished by The Shrine to Music Muesum. (No. 3369).

The History of the Viola

Plate 38. Viola by Lorenzo Storioni, Cremona, 1783.
Photographs furnished by Barbara M. Zmich.

Italian Violas from c. 1700 to the Present

Plate 39. Viola by Lorenzo Storioni, Cremona, 1784.
Photographs furnished by Bein & Fushi. (No. 7785).

The History of the^ Viola

Plate 40. Viola by Lorenzo Storioni, Cremona, c. 1785.
Photographs furnished by Bein & Fushi. (No. 1965).

Italian Violas from c. 1700 to the Present

Italian Violas in the 19th Century

Many of the Italian families that had contributed so much to the art of
violin making did not continue to produce instruments in the 19th century.
There was less demand for Italian violas in the early 19th century because
native luthiers in France, England, Germany, and other countries were
making instruments to suit the demands of local performers at lower prices
than Italian instruments were bringing.

Fine instruments continued to be produced in Italy, however, but in
smaller numbers. Many of the instruments were made by luthiers whose
names were not associated with the craft before 1800.

Umberto Azzolina, in his excellent book pertaining to instruments
made by Italian luthiers of the 19th century, furnished photographs in color,
dimensions, and descriptive material of instruments made by 62 Italian
luthiers.3 Among these craftsmen, whom he considered to be the outstand¬
ing Italian luthiers of the 19th century are: Romeo and Riccardo Antoniazzi,
Gaetano Antoniazzi, Leandro Risiach, Eugenio Degani, Gaetano Scarabotto,
Vincenzo Postglioni, Anibale Fagnola, Evasio Emilio Guerra, Antonio Pe-
drinelli, Ludovico Rastelli, and Andrea Postacchini.

Other Italian luthiers listed by Azzolina who continued to produce
quality instruments into the 19th century are Giovanni Ratista Ceruti (1755-
1817), Johannes Francesco Pressenda (1770-1854, Joseph Rocca (1801-68),
Giacomo Rivolta (1800-46), and Stefano Scarampella (1834-1924). Exam¬
ples of their violas appear below:

The viola in Plate 41 was made by Giovanni Batista Ceruti in Cremona,
1807. Its dimensions are:

Body length — 39.4 cm. (15 1/2 in.)

Upper bout — 17.9 cm. ( 7 1/16 in.)

Middle bout — 12.7 cm. ( 5 in.)

Lower bout — 22.6 cm. ( 8 7/8 in.)

Ceruti is particularly famous for his cellos. He made very few violas.
The viola in Plate 42 was made by Joannes Franciscus Pressenda in
Turin, 1834. The dimensions are:

String length — 36.3 cm. (14 1/4 in.)

Body length — 39.3 cm. (15 7/16 in.)

Upper bout — 17.9 cm. ( 7 1/16 in.)

Middle bout — 12.1 cm. ( 4 3/4 in.)

Lower bout — 22.5 cm. ( 8 7/8 in.).

3Umberto Azzolina, Liutheria Italiana dell’ ottocento e del novecento (Milano: Casa Editrice Ceschina,
1964), “Italian Luthiers of the 18th and 19th Centuries.”

The History of the Viola

The varnish is a reddish-brown in color.

The top is formed by two pieces of spruce of fine grain broadening
toward the flanks. The back is formed by one piece of quarter-cut maple
with a slightly irregular broad curl descending slightly from left to right. The
ribs and the original scroll are of maple.

There are only about six Pressenda violas extant.

The viola in Plate 43 was made by Joseph Rocca in Turin, 1848. Its
dimensions are:

Body length — 40 cm. (15 3/4 in.)

Upper bout — 18.4 cm. ( 7 1/4 in.)

Middle bout — 12.1 cm. ( 4 3/4 in.)

Lower bout — 23.3 cm. ( 9 1/8 in.).

The varnish is a golden-orange color. The back and ribs are of maple,
the top is of spruce.

The viola in Plate 44 was made by Giacomo Rivolta in Milan, 1824. The
dimensions are:

Body length — 41.1 cm. (16 3/16 in.)

Upper bout — 19.4 cm. ( 7 5/8 in.)

Middle bout — 13.2 cm. ( 5 3/16 in.)

Lower bout — 23.5 cm. ( 9 1/4 in.).

The varnish is a light orange color. The back and ribs are of native
maple, the top is of spruce. This is a particularly fine and characteristic
example of Rivolta s work. It is illustrated in the 1931 Wurlitzer catalogue.

Rivolta is well known for his cellos and double-basses, but he made only
a few violas.

The viola in Plate 45 was made by Stefano Scarampella in Mantua, 1900.
Its dimensions are:

Body length — 39.8 cm. (15 5/8 in.)

Upper bout — 18.5 cm. ( 7 1/4 in.)

Middle bout — 13 cm. ( 5 1/8 in.)

Lower bout — 20.9 cm. ( 8 1/4 in.).

The varnish is a deep reddish-orange in color. The back and sides are of
maple, the top is of spruce.

Not only was Scarampella a fine maker, but he was also a talented
repairer and restorer, including work he did on the Stradivarius Medici
Contralto Viola, described in Chapter I.

Italian Violas from c. 1700 to the Present

Twentieth Century Italian Violas

The ever-increasing scarsity of fine old Italian instruments made be¬
tween c.1540 and 1900, plus the ever-increasing demand for them has re¬
sulted in inflated prices that has placed these instruments beyond the reach
of the average string player. In response to this situation there has been a
resurgence of activity in Italy by luthiers during the 20th century in an
attempt to recapture the earlier reputation enjoyed by their predecessors.
Two World Wars, during the first half of the 20th century, retarded the
progress of this movement. Since 1950 many Italian luthiers are again pro¬
ducing excellent instruments, including violas.

In addition to the fine quality of the contemporary instruments, other
factors have contributed to restoring world-wide interest in Italian violin
making. These factors include the Cremona Violin Making School, which
now enjoys a reputation comparable to the best schools in other countries.
Exhibits and competitions held in the city of Cremona provide luthiers
incentive and needed exposure to help promote the sale of their instru¬
ments. Also, of particular interest to performers and makers is the perma¬
nent display of great instruments in the Cremona City Hall, which includes
masterpieces by the Amatis, the Guarneris, and Stradivarius.

Conclusion

Many of the masterpieces made by Italian luthiers are no longer avail¬
able to performers because they are now in museums or they are a part of
permanent private collections. Many of the once fine instruments have been
damaged beyond repair, or are lost, or worn out by careless or thoughtless
players, or they are the victims of the attrition of time.

Fortunately, more and more fine violas are now being produced world¬
wide in the shops of contemporary luthiers. This situation has been greatly
motivated by the exhibits and competitions sponsored by the Violin Society
of America, and by the Kaplan-Goodkind Scholarships awarded by this or¬
ganization to young prospective luthiers, enabling them to attend a school
that offers training in the skills of violin making. The instruments made by
comtemporary luthiers are usually priced in a range that makes them avail¬
able to the average violist.4

4For more about The Violin Society of America see Maurice W. Riley, Op. cit, pp. 294, 304-5, and 310.]

The History of the Viola

Plate 41. Viola by Giovanni Batista Ceruti, Cremona, 1807.
Photographs furnished by Bein & Fushi. (No. 7558).

Italian Violas from c. 1700 to the Present

Plate 42. Viola by Joannes Franciscus Pressenda, Turin, 1834.
Photographs furnished by Bein & Fushi. (No. 7827).

The History of the Viola

Plate 43. Viola by Joseph Rocca, Turin, 1848.
Photographs furnished by William Moennig & Son.

Italian Violas from c.1700 to the Present

Plate 44. Viola by Giacomo Rivolta, Milan, 1824.
Photographs furnished by William Moennig & Son.

The History of the Viola

Plate 45. Viola by Stefano Scarampella, Mantua, 1900.
Photographs furnished by William Moennig & Son.

CHAPTER IV

EARLY GERMAN VIOLAS

Jacobus Stainer

In Italy during the sixteenth century Andrea Amati, in Cremona, and
Gasparo da Said, in Brescia, led the way in the craft of violin making. A
century later in Absam, Austria, Jacobus Stainer (1617-83) was the first
violin maker of German descent to make instruments comparable to those
being made in Italy.

Absam, a small village in the Austrian Alps, is 230 kilometers (138 miles)
north-east of Brescia. It is 100 kilometers (60 miles) south of Munich, and
five miles east of Innsbruck. (See Plate 9, Map of the relevant parts of Italy,
Austria, and Bavaria.)

Stainer’s background and training had long been a matter of conjecture
until Walter Senn and Karl Roy published the definitive biography of this
great luthier in 1951/1986. 1

Senn and Roy searched through the Absam Catholic Church records
and were able to trace four generations of the Stainer family. Stainer married
Margareta Holzhammer in 1645. Of the nine children born to them, 1645-
1666, only one, Maria, lived long enough to have been married. She and her
husband, Blasius Keil, had two sons, one is known to have been married and
had one son. Of particular importance is the fact that Stainer did not leave
any heirs who became luthiers.

Where Stainer received his training or apprenticeship is speculative,
but his work appears to have been influenced by the Amatis, and by Nicolo
Amati in particular. His instruments were designed after Amati models; and
the ground coating that he used is the same velvet, golden-brown color.

Stainer models were copied by luthiers in Germany, England, France,
and even in Italy. Pietro Guarnerius, Gabrielli, and others appear to have
worked on Stainer models.2

1Walter Senn and Karl Roy, Jacob Stainer, Leben und Werh des Tiroler Meisters 1617-1683 (Frankfurt/
M: Bochinsky, 1951; Revised Ed., 1986.)

2Walter Hamma, Violin-Makers of the German School from the 17th to the 19th Century, Vol. II
(Tutzing: Hans Schneider, 1986), p. 310.

The History of the Viola

Stainer’s instruments had a reputation equal to the best of the Cremo-
nese until the advent Stradivari’s flatter and wider model, which was tonally
better suited for performance in concert halls.3

Senn and Roy catalogued, furnished photographs and dimensions of all
the surviving Stainer instruments that they could find. They list the follow¬
ing totals:

75 violins,

9 violas,

5 cellos,

2 violenen da braccios,

7 viola da gambas.4

Seven of the violas are listed below in the order of their body length,
with the year when each was made:

1660—39.5 cm. (15 9/16 in.)

167?— 40.5 cm. (15 15/16 in.)

1660—40.6 cm. (16 in.)

1660 — 40.6 cm. (16 in.)

166? — 40.6 cm. (16 in.)

1660—40.6 cm. (16 in.)

1670—42.3 cm. (16 5/8 in.).

The other two violas were tenors, one made in 1649, with the body
length of 46.6 cm. (18 5/16 in.); and one made in c.1650 with a body length
of 46.7 cm. (18 3/8 in.) is described below and is shown in Plate 46.

The tenor viola in Plate 46 was made by Jacobus Stainer in Absam,
c.1650 (Senn and Roy, and Hamma give the date 1665.) is uncut. Its dimen¬
sions are:

String length — 39.7 cm.
Body length — 46.5 cm.
Upper bout — 22.5 cm.
Middle bout — 15.4 cm.
Lower bout — 27.3 cm.
Upper ribs — 4.45 cm
Lower ribs — 4.45 cm

(15 5/8 in.)
(18 5/16 in.)
( 8 7/8 in.)

( 6 1/16 in.)
(10 3/4 in.)

( 1 3/4 in.)

( 1 3/4 in.).

This viola was restored to its original condition c.1900 by Hammig,
using some old historic parts. It was certified by Hamma in Stuttgart in 1961.
It was purchased by Lawrence Witten from Hamma through Jacques

3ibid.

4Ibid. , p. 464.

Early German Violas

Plate 46. Tenor Viola by Jacobus Stainer, Absam, Austria, c. 1650.
Photographs furnished by The Shrine to Music Museum. (No. 3371).

Frangais in 1961. The Shrine to Music Museum acquired this instrument in
1984 as part of the Witten-Rawlins Collection.5

The viola in Plate 47 was made by Matthias Alban (1621-1712) in Bozen,
1698. It has not been reduced. The dimensions are:

Body length — 40.8 cm. (16 1/16 in.)

Upper bout — 19.9 cm. ( 7 13/16 in.)

Middle bout — 13.2 cm. ( 5 3/16 in.)

Lower bout — 24.3 cm. ( 9 9/16 in.).

This instrument was formerly in the Rodman Wanamaker Collection.
Matthias Alban (1621-1712) of Bozen is also known as Matthias Albani

5Photographs of this same tenor viola appear in Senn and Roy, Ibid, pp. 300-1; and in Walter Hamma,
Op. cit., pp. 324-5.

The History of the Viola

Plate 47. Viola by Matthias Alban, Bozen (Bolzano), 1698.
Photographs furnished by William Moennig & Son.

of Bolzano. The name on his labels is Alban or Albanus. The Italian spelling
Albani of Bolzano can be attributed to the location of Bozen which has been
sometimes in southern Bavaria and sometimes in northern Italy, depending
on which country had been victorious in the most recent war. Bozen is
located on the road to the Brenner Pass, the most direct route through the
Tirolean Alps connecting Bavaria and Italy. (See Plate 9.) According to

Early German Violas

Walter Hamma,6 “The work of Matthias Alban, which is very clean, some¬
what recalls the Venetian school. The f-holes are in the style of Amati. Very
elegant and exact purfling with an attractive edge. The arching is in the
manner of Jacobus Stainer.” Both Matthias and his son, Joseph Alban (1680-
1722), made violas which are shown in Hamma’ s book.

The Matthias Kloz Family

Jacobus Stainer left no heirs to continue his tradition of very fine violin
making. On the other hand Matthias Kloz7 left three sons who continued his
work. Matthias (1653-1743) was the first of four generations of a very im¬
portant family of German luthiers in Mittenwald, Bavaria. Mittenwald is
northwest of Absam, by road, 50 kilometers (30 miles), and 20 kilometers (12
miles) north of Innsbruck. See the map Plate 9.

Matthias Kloz

Georg Kloz
(1687-1737)

Sebastian Kloz
(1696-1775)

Georg Karl Kloz
(c. 1723-1797)

Aegidius Kloz
(1733-1805)

Johann Karl Kloz
(1709-1797)

Michael Kloz
(1749-1814)

Wolfgang F. Kloz
(Middle to end of 18th century)

The name Kloz (or Klotz) appears in large numbers in dictionaries of
violin makers. Many of the luthiers listed under this name did not make
quality instruments. Matthias and members of his family listed on the above
diagram did make significant instruments.

Matthias had at least seven children, but only Georg, Sebastian, and
Johann Karl became luthiers. His other children, not shown in the above
diagram, were Abraham, Vitus, Urban, Christina, and Sibylla.8

Not far from Mittenwald was the lute-making city of Fussen. At that

6Walter Hamma, Vol. I, Op. cit., pp. 15-21.

7The family name is also spelled “Klotz”. Kloz is used in this book because Matthias and bis family used
it on the labels in their instruments.

8Dr. Adolf Layer, Matthias Klotz Von Mittenwald, Ein Beruhmter Geigenbauer Der Barockzeit (Felda-
fing: Friedl Brehm Verlag, 1959), pp. 1-2.

The History of the Viola

time the customary apprenticeship for a young luthier was five years. The
lute makers in Fiissen established this requirement upon founding their
guild in 1562. Fiissen was famous for the lutes and viols made there by
masters like Gerle, Hellmer, Grief, Pfanzelt, and the Tiefenbruggers. By
1600 and throughout the Thirty Years War (1618-48), there was a general
exodus from Fiissen to all the other countries of Europe by many of the
talented artisans seeking more peaceful locations where they could appren¬
tice or ply their trade.

Where Matthias Kloz had his early apprenticeship is not known. It was
not with Jakobus Stainer, as was once believed. Dr. Layer believes that
Matthias had a brief apprenticeship in Fiissen.9

Mittenwald’s advantageous location on an important trade route to Italy
prompted many young ambitious citizens to move to the other side of the
Alps to apprentice in the skills of the Italians. Die Staatliche Berufsfach-
schule fur Geigenbau in Mittenwald (The State Occupational School for
Violin Making in Mittenwald) possesses two photographs of a most important
document in the life history of Matthias. It is a service certificate (not an
indenture!) completed on May 10, 1678 attesting by lute maker Johann
Railich (Railihe) that “Matthias Kloz had served loyally, truthfully, and obe¬
diently for a term of six years in his workshop, the Botega di Lautaro al
Santo, and that he had never damaged his reputation in any way.” Matthias,
therefore, apprenticed from 1672 until 1678 in Railich’s workshop in Padua.

If Matthias had already served a brief apprenticeship in Fiissen, as
suggested by Dr. Layer, then he must have been a journeyman while he was
working under Railich.

Matthais’ own apprentices included his sons, Georg, Sebastian, and
Johann Karl, and his grandson, Georg Karl. Best known of his students,
outside of his own family, were Johann Augustin Gossler and Andreas Jais
(c. 1685-c. 1749), who apprenticed around 1700. Jais made many violas and
viola d’amores. In place of a scroll Jais often used a most attractively carved
lion s head, in the manner often employed by Stainer.

Among Matthias’ surviving instruments are:10

Viola d’amore (1715), in the Staat Musikinstrumentensammlung of Mu¬
nich (Kat.-Nr. 41-85);

Viola d’amore (1717), according to Kinsky, p. 626, was in the Kgl.
Sammlung Berlin [before World War II], present location un¬
known;

Viola d’amore (1725), in the Musikinstrumentenmuseum of the Univer-

9Dr. Adolf Layer, Ibid, pp. 7-8.

l0Ibid., p. 21-23.

Early German Violas

sity of Leipzig (Kat.-Nr. 827, formerly in the Musikhistor. Museum
in Cologne);

Bratsche (1726), in the Sammlung der Musikinstrumente des Bayer
Nationalmuseums of Munich (old Kat.-Nr. 113; new Mu Nr.35);
Bratsche (no date), in the Paris Conservatoire Museum (Nr. 162);
Bratsche (no date), a Diskant Viola in the Staatl. Sammlung alter
Musikinstrumente in Berlin (Nr. 2576).

Georg Kloz

Peter Haydon, of Ann Arbor, Michigan, the former owner of two violas,
one made by Georg Kloz (1687-1737), oldest son of Matthias, and the other
attributed to Georg Karl Kloz, grandson of Matthias, recently loaned these
instruments to Ars Musica, an orchestra in Ann Arbor, Michigan. The Ars
Musica was a group of musicians dedicated to performing Baroque music on
period instruments that have Baroque type fittings. Members of the Ars
Musica appropriately named the two Kloz violas, “Big Georg” and “Little
Georg”, in recognition of their relative size. “Big Georg” was played by
Robin Wideman, a former student of the author.

The viola in Plate 48 was made by Georg Kloz in Mittenwald in 1721.
Mr. Wideman was so impressed by the tonal properties of “Big Georg” that
he showed and demonstrated the viola to the author as soon as it was as¬
signed to him. We both agreed that it should be included in Volume II of The
History of the Viola.

Ars Musica is now temporarily disbanded. “Big Georg” has been do¬
nated to the University of Michigan Stearns Music Instrument collection.
Dr. William P. Malm, curator, permitted the photographs and the measure¬
ments of “Big Georg” to be included in this book. The dimensions are:

String length — 38 cm. (14 15/16 in.)

Body length — 43.5 cm. (17 1/8 in.)

Upper bout — 20 cm. ( 7 7/8 in.)

Middle bout — 13.8 cm. ( 5 3/8 in.)

Lower bout — 24.7 cm. ( 9 3/4 in.)

Upper ribs — 5.2 cm. ( 2 1/16 in.)

Lower ribs — 5.2 cm. ( 2 1/16 in.).

The wide ribs and the wide upper bout make it very difficult to play
above the fourth position.

The varnish is an orange-brown color. The top is of two piece spruce,
and the two piece back is maple, as are the ribs.

The fittings on the viola appear to be the original Baroque ones, in-

The History of the Viola

Plate 48. Viola by Georg Kloz, Mittenwald, 1721.
Photographs with permission of Dr. William P. Malm, Curator,
The University of Michigan Stearns Collection.

eluding a short fingerboard, 23.2 cm. (9 1/8 in.), and a short neck, 13.6 cm.
(5 3/8 in.). There is a maple wedge spliced to the bottom of the ebony
fingerboard. This was probably done to save rare and precious ebony by
using a thin piece and reinforcing it to prevent weakness. The bridge and
tailpiece, if not original, are certainly authentic reproductions

“Little George” is now the property of Melissa Trier Kirk, of Evanston,
Illinois. She is associated with several Baroque ensembles in the greater
Chicago area, and is a member of the Lyric Opera Orchestra, and also plays
in the Santa Fe Opera Orchestra each summer. Mark Norfleet, violin, re¬
pairer and restorer of Ann Arbor, Michigan, contributed considerable time
and assistance in locating the present owner of “Little George”.

“Little George” (photographs not available) is believed to have been
made c. 1790 by Georg Karl Kloz, grandson of Matthias. Its dimensions are:

Body length — 42 cm. (16 1/2 in.)
Upper bout — 19.1 cm. ( 7 1/2 in.)

Early German Violas

Middle bout — 13.1 cm. ( 5 1/8 in.)
Lower bout — 23.2 cm. ( 9 1/8 in.).

It has a one-piece back of maple, and the top is of spruce. The varnish
is golden-brown.

Mittenwald, home of the Kloz family, continued to be an important
center for luthiers and for their apprentices. It was inevitable that eventually
Mittenwald would become the location of one of the most prestigious schools
to offer training in the craft of violin making. It is now known world-wide as
the Mittenwald School of Violin Making (Die Staatliche Berufsfachschule fur
Geigenbau in Mittenwald).

Other German Makers

German luthiers, like the Italians, did not make many violas during the
18th century. The five following examples represent only a few of the best
German makers: Leonhard Maussiell, Niirnberg; Daniel Stadlmann,
Vienna; Johann Paul Alletsee, Munich; Christoph Friedrich Hunger,
Leipzig; and from what is presently Czechoslovakia, Udalricus Eberle,
Praha (Prague).11

The viola in Plate 49 was made by Leonhard Maussiell (1685-d. after
1760), in “The Imperial City of Niirnberg,” c.1710. Its dimensions are:

Body length — 44.2 cm. (17 3/8 in.)
Upper bout — 20.9 cm. ( 8 in.)
Middle bout — 14.5 cm. ( 5 11/16)
Lower bout — 26.1 cm. (10 1/8 in.).

The varnish is orange-brown to reddish-brown. The back and sides are
of maple, the top is of spruce. A carved lion s head replaces the usual scroll.

According to Walter Hamma, Maussiell was one of the best German
luthiers.

The viola in Plate 50 was also made by Leonhard Maussiell in “The
Imperial City of Niirnberg,” c. 1731. Its dimensions are:

11For more information about German luthiers and their instruments see Walter Hamma, Op. cit.
Volume I and II.

The History of the Viola

String length — 49.6 cm. (19 1/2 in.)

Body length — 43.3 cm. (17 1/16 in.)

Upper bout — 20 cm. ( 7 7/8 in.)

Middle bout — 13.2 cm. ( 5 3/16 in.)

Lower bout — 25.1 cm. ( 9 7/8 in.)

The varnish is a dark golden brown. This finely-made viola has a flat,
one-piece back. The ribs are flush with the back and belly. It has hardly ever
been played, although there now are cracks in the back. The label is original,
but the last two digits of the date, written by hand, are uncertain

Leonhard Maussiell, who was born in Niirnberg in 1685 and died there
about 1760, was the son of a Niirnberg joiner, Andreas, and the grandson of
Matthias Maussiell of Augsburg, with whom he reportedly apprenticed. He
married Helena Margarete Andrea, the daughter of a Niirnberg grocer, in
1708, and the marriage certificate said that he was “honest and full of art. ’’
He traveled as far as Italy and the Tyrol, and his instruments were based on
those of Jacobus Stainer of Absam bei Innsbruck, and David Tecchler (1666—
1748), an important maker who left Salzburg, his birthplace, in 1699, and
thereafter worked in Italy, first in Venice, then in Rome, where he became
the best maker in the city. Maussiell’s purfling was often made of fish
bone.12

This viola was in the Rembert Wurlitzer Collection, later in the Dario
D’Attili Collection, then the Laurence Witten Collection. It was purchased
in 1984 by The Shrine to Music Museum as part of the Witten-Rawlins
Collection.

The viola in Plate 51 was made by Daniel Achatius Stadlmann (1680-
1744) in Vienna, 1725. Its dimensions are:

Body length — 41.7 cm. (16 3/8 in.)
Upper bout — 18.7 cm. ( 7 3/8 in.)
Middle bout — 12.5 cm. ( 4 15/16 in.)
Lower bout — 23.4 cm. ( 9 3/16 in.).

The varnish is a rich golden-brown. The back and ribs are of maple, the
tops of spruce. This is the Ex-Emmanuel Vardi viola.

The viola in Plate 52 was made by Johann Paul Alletsee (1684-1733) in
Munich, 1727. Its dimensions are:

12Descriptive material from The Shrine to Music Museum pamphlet, “Amadeus, His Music and the
Instruments of the Eighteenth-century Vienna,” 1990, p. 24.

Early German Violas

Body length — 41 cm. (16 1/8 in.)

Upper bout — 19 cm. ( 7 1/2 in.)

Middle bout — 12.7 cm. ( 5 in.)

Lower bout — 23 cm. ( 9 1/16 in.)

The varnish is a medium dark orange-brown color.

This viola shows the influence of the makers of Venice, where Alletsee
worked in the early 1700’s.

The viola in Plate 53 was made by Christoph Friedrich Hunger (1718-
c. 1787) in Leipzig, 1751. Its dimensions are:

String length — 42.55 cm. (16 3/4 in.)

Body length — 43.8 cm. (17 1/4 in.)

Upper bout — 20 cm. ( 7 7/8 in.)

Middle bout — 13.67 cm. ( 5 3/8 in.)

Lower bout — 25.1 cm. ( 9 7/8 in.)

Upper ribs — 5.1 cm. ( 2 in.)

Lower ribs — 5.5 cm. ( 2 1/8 in.).

The varnish is a dark chocolate-brown color.

Hunger was a pupil of Jauch in Dresden. He was later associated with
J. Ch. Hoffman, the maker of the viola pomposa shown on page 223-4 in
Volume I of The History of the Viola.

The viola in Plate 54 was made by Joannes Udalricus Eberle (1699-
1764) in Praha (now Prague, Czechoslovakia), 1754. Its dimensions are:

String length — 38.4 cm. (15 1/8 in.)

Body length — 44.5 cm. (17 1/2 in.)

Upper bout — 21.5 cm. ( 8 7/16 in.)

Middle bout — 15 cm. ( 5 7/8 in.)

Lower bout — 26 cm. (10 1/4 in.).

The varnish is a brownish-red color. The shape of the f-holes is similar
to some gambas and some viola d’amores. Mother-of-pearl flowers are inlaid
in the lower end of the f-holes. There is a rosetta inlaid under the finger¬
board. The instrument has been “modernized” with the new length neck
and fingerboard, the latter covering the rosetta.

The viola is now in the private collection of Rhoda Lee Burchak and
Carol Burchak Warden, Washington, D.C.

Nineteenth Century German Violas

German violists in the middle of the 19th century in many of the Ger¬
man orchestras played on small violas, some of them were little larger than

The History of the Viola

violins. The resultant muffled tone and lack of resonance prompted Richard
Wagner to write a scathing rebuke not only about the tone quality of the
viola sections, but also about the general lack of talent among the violists:

The viola is commonly (with rare exceptions indeed) played by infirm violinists, or by
decrepit players of wind instruments who happen to have been acquainted with a stringed
instrument once upon a time; at best a competent viola player occupies a first desk, so that
he may play the occasional solos for that instrument; but I have seen this function per¬
formed by the leader of the first violins. It was pointed out to me that in a large orchestra
which contained eight violas, there was only one player who could deal with the rather
difficult passages in one of my later scores!13

Hermann Ritter (1849-1926), a young German violist, made an exhaus¬
tive acoustical study and determined that in order for a viola to balance the
violin or cello in resonance and in volume that it would need to have a body
length of 54 cm. (21 1/4 in.). Realizing that this dimension was impractical,
he compromised and designed a shorter viola with a body length of 48 cm.
(18 7/8 in.). He commissioned luthier Karl Adam Horlein (1829-1902) of
Wurzburg to build the instrument. Ritter named his instrument the “Viola-
alta.” The new Viola-alta had such a big resonant sound that Ritter took it to
Munich and demonstrated it to Richard Wagner. Wagner was so favorably
impressed that he engaged Ritter to be the principal violist in the first
performance of the entire Der Ring des Nibelungen, at the opening of the
new Wagner Theater in Bayreuth, August 13-17, 1876. 14

Ritter was a large man and could play the Viola-alta with apparent ease.
Most violists, however, found the instrument to be much too large. Ritter
reluctantly decided to have Horlein build violas with a body length of 43.3
cm. (17 in.). The viola in Plate 55 is an example. It was made by Horlein in
Wurzburg in 1892.

This Viola-alta is smaller than the original Hermann Ritter model of 48
cm. (18 7/8 in.). Its dimensions are:

String length — 39 cm.
Body length — 43.3 cm.
Upper bout — 19.5 cm.
Middle bout — 13.3 cm.
Lower bout — 24.6 cm.
Upper ribs — 4.6 cm.
Lower ribs — 4.8 cm.

(15 3/8 in.)
(17 in.)

( 7 11/16 in.)
( 5 1/4 in.)

( 9 11/16 in.)
( 1 13/16 in.)
( 1 7/8 in.)

13Richard Wagner, On Conducting, a Treatise on Style in the Execution of Classical Music (London:
Reeves, modern reprint 1940), pp. 3-4.

14For more about Ritter’s Viola-alta, see Maurice W. Riley, Ibid. Volume I, pp. 210-217 and 228-232.

Early German Violas

The varnish is an orange-brown color. The back is of two-piece maple
with a medium broad curl extending upward from the center joint. The ribs
are of somewhat similar wood, as is the scroll. The top is of two-piece spruce
with a medium broad grain.

It is certified by William Moennig & Son, 1966. It is now the property
of John H. Riley, of Los Angeles.

Markneukirchen

During the 19th century a large number of German made instruments
came from the village of Markneukirchen, located 130 kilometers (81 miles)
northeast of Niirnberg. Some of the instruments produced there were vio¬
lins of the “assembly-line factory made variety,” with facsimile labels pur¬
porting to establish their quality and authenticity as being the work of Stra-
divarius, the Amatis, Jacobus Stainer, and other great masters. Fortunately
for the violists there were very few violas produced in this fashion.

Markneukirchen was, however, the home of several of the most accom¬
plished German bow makers, including the families of Wilhelm Christian
Knopf (1767-1837); Franz Albert Niirnberger (1826-95); and Hermann
Richard Pfretzschner (1856-1921). The most famous German bows, albeit,
were not made in Markneukirchen, but came from the shops of Nicolaus
Kittel, who emigrated to St. Petersburg, Russia, (1839-1870), where he
became known as the “Russian Tourte”; and Ludwig Christian August
Bausch (1805-1871) in Leipzig, where he became known as the “German
Tourte,” (whose shop, two generations later, was moved to Markneu¬
kirchen).

The History of the Viola

Plate 49. Viola by Leonhard Maussiell, Niirnberg, c. 1710.
Photographs furnished by William Moennig & Son.

Early German Violas

Plate 50. Viola by Leonhard Maussiell, Niirnberg, 1731.
Photographs furnished by The Shrine to Music Museum. (No. 3428).

The History of the Viola

Plate 51. Viola by Daniel Achatius Stadlmann, Vienna, 1725.
Photographs furnished by William Moennig & Son.

Early German Violas

Plage 52. Viola by Johann Paul Alletsee, Munich, 1727.
Photographs furnished by William Moennig & Son.

The History of the Viola

Plate 53. Viola by Christoph Friedrich Hunger, Leipzig, 1751.
Photographs furnished by The Shrine to Music Museum. (No. 4144).

Early German Violas

Plate 54. Viola by Joannes Udalricus Eberle. Praha (Prague), 1754.
Photographs by George M. Riley. From the collection of and with the permission of
Rhoda Lee Burchak & Carol Burchak Warden.

The History of the Viola

Plate 55. Viola-alta by Karl Adam Horlein, Wiirtzburg, 1892.
Photographs with permission of John Henry Riley.

CHAPTER V

ENGLISH AND FRENCH VIOLAS IN
THE 18TH AND 19TH CENTURIES

w* one exception English and French luthiers did not produce a large
number of violas in the 18th and 19th centuries. The exception was Jean
Baptiste Vuillaume (1798-1875) in whose Paris shop many of the finest
French luthiers and archetiers of the 19th century were trained and em¬
ployed.

The preference for small violas from c. 1775 to c. 1875 did not encourage
the more talented luthiers to make many violas. Their talent and time, they
reasoned, could be better spent making violins and cellos; and many French
and English craftsman adopted bow making as a full-time trade.

English Violas

During the 19th century English makers who made violas, usually in
Italian models, patterned after Nicholas Amati, were: Daniel Parker (1705-
61) in London; Peter Wamsley (1715-51), in London, Benjamin Banks
(1727-95), of Salisbury; William Forster, Jr. (1739-1807), in London; and
members of the Italian Panormo family who emigrated from Italy to Paris,
then to London: Vincenzo (b. 1734 in Monreal near Palermo, d. 1813 in
London); his sons, Joseph (1773-1830), luthier, and George Louis (1774-
1842), an outstanding bow-maker.

The following instruments are representative of the English violas of the
period c. 1785-1875:

Daniel Parker made the viola in Plate 56 in London, c. 1720. The di¬
mensions are:

Body length — 41.4 cm. (16 5/16 in.)

Upper bout — 20 cm. ( 7 7/8 in.)

Middle bout — 13.3 cm. ( 5 1/4 in.)

Lower bout — 24.6 cm. ( 9 11/16 in.).

The varnish is golden-yellow in color. The back and sides are of maple,
the top is of English pine.

The History of the Viola

William Forster, Jr. made the viola in Plate 57 in London, 1730. It has
not been reduced. Its dimensions are:

Body length — 39.6 cm. (15 9/16 in.)

Upper bout — 18.4 cm. ( 7 1/4 in.)

Middle bout — 12.8 cm. ( 5 in.)

Lower bout — 23 cm. ( 9 1/16 in.).

The varnish is a reddish-orange color. The back and sides are of maple,
the top is of spruce.

Benjamin Banks made the viola in Plate 58 in Salisbury, 1765. Its
dimensions are:

String length — 36.5 cm. (14 3/8 in.)

Body length — 41 cm. (16 1/8 in.)

Upper bout — 16 cm. ( 6 1/4 in.)

Middle bout — 13.3 cm. ( 5 1/4 in.)

Lower bout — 23.3 cm. ( 9 1/8 in.)

Upper ribs — 3.4 cm. ( 1 5/16 in.)

Lower ribs — 3.6 cm. ( 1 3/8 in.).

The varnish is a dark red-brown color. The back is one-piece of maple,
with a narrow flame; the top is two-piece of pine, with a wide grain.

Edgar Cyril Glyde, father of Rosemary Glyde, the present owner, pur¬
chased the viola from an amateur. The instrument is verified by William
Moennig & Son.

The viola in Plate 59 was also made by Benjamin Banks, Salisbury,
1787. It has not been reduced. Its dimensions are:

Body length — 38.5 cm. (15 1/8 in.)

Upper bout — 18.8 cm. ( 7 3/8 in.)

Middle bout — 13.3 cm. ( 5 1/4 in.)

Lower bout — 23.5 cm. ( 9 1/4 in.).

The varnish is a dark orange-brown color. The back and sides are of
maple, the top is of English pine. It bears the maker s brand and signature
in various places.

English and French Violas

Plate 56. Viola by Daniel Parker, London, England, c. 1720.
Photographs furnished by William Moennig & Son.

The History of the Viola

Plate 57. Viola by William Forster, Jr., London, England, 1780.
Photographs furnished by William Moennig & Son.

English and French Violas

Plate 58. Viola by Benjamin Banks, Salisbury, England, 1765.
Photographs furnished by Rosemary Glyde.

The History of the Viola

Plate 59. Viola by Benjamin Banks, Salisbury, England, 1787.
Photographs furnished by William Moennig & Son.

English and French Violas

French Violas

Many of the 18th and 19th century French luthiers lived in or appren¬
ticed in Mirecourt, a small village about 33 kilometers (21 miles) east of
Paris. Most of the better makers gravitated to Paris where the musical action
was: Benoit Fleury (fl. c. 1755-c. 1785) moved to Paris c.1755, and lived
there for more than 30 years; Nicholas Lupot (born in Stuttgart in 1758, died
in Paris, 1824), was rightfully called “Le Stradivari francais” (The French
Stradivarius); Charles Frangois Gand (born in Versailles 1787, died in Paris,
1845), apprenticed in the shop of Lupot; Louis Gerson (born c. 1713 in Paris,
died there after 1781); Francois Chanot (born in Mirecourt c.1787, died in
Brest, 1823); Georges Chanot II (born in Mirecourt, 1801, died there 1883),
an outstanding French luthier. Jean Baptiste Vuillaume, born in Mirecourt,
1798, died in Paris, 1875, was the only French luthier who made violas that
compared favorably with those produced by the Italians.

The following instruments are representative of the French violas of the
period C.1785-C. 1875:

Benoit Fleury was the maker, Paris, c. 1760, of the viola shown in Plate
60. The only dimension available is the body length which is 41.7 cm. (16 3/8
in.). It bears his label and also a brand on the lower rib.

Fleury made few violas. He was chiefly known as a repairer.

Nicolas Lupot made the viola in Plate 61 in Paris, 1808. It has not been
reduced. Its dimensions are:

Body length — 39.7 cm. (15 5/8 in.)

Upper bout — 18.5 cm. ( 7 5/16 in.)

Middle bout — 12.5 cm. ( 4 15/16 in.)

Lower bout — 23.1 cm. ( 9 1/16 in.).

The varnish is a reddish orange-brown color. The back and sides are of
maple, the top is of spruce. It is in mint condition.

Jean Baptiste Vuillaume made the viola in Plate 62 in Paris, 1842-1844.
Its body length is 39.7 cm. (15 5/8 in.). A pencilled inscription #1578 is
inside.

The viola in Plate 63 was also made by Vuillaume in Paris, 1865, and is
labelled #2603. Its dimensions are:

Body length — 41.7 cm. (16 3/8 in.)

Upper bout — 18.7 cm. ( 7 3/8 in.)

Middle bout — 13.1 cm. ( 5 1/8 in.)

Lower bout — 23.9 cm. ( 9 3/8 in.).

The varnish is a transparent golden color. The back and sides are of
maple, the top is of spruce.

The History of the Viola

It was made as part of a quartet especially for Count Basil de Chere-
metoff, whose coat-of-arms is painted on the back.

From 1828 to 1875 Vuillaume made 3011 instruments. He numbered
most of them on the label.1 Millant observed that Vuillaume rarely made
violas with a body length of more than 40 cm. (15 3/4 in.). A few exceptions
were: No. 2137 made in 1848, with a body length of 41.6 cm. (16 3/8 in.) and
the famous “Contralto,” made in 1855 with a body length of 41.3 (16 1/4 in.).2
Millant commented approvingly of Vuillaume’s ability to copy models of the
Italian masters by citing three examples: No. 175, a Stradivarius model viola
made in 1829; No. 276 a Maggini model viola made in 1834; and an unnum¬
bered Guarneri model viola made between 1830 and 1840.

English and French luthiers of the 18th and 19th centuries did not
attain a reputation comparable to the Italians for producing violas; however,
they did excel in and achieve fame in the craft of bow making.

^oger Millant, J. B. Vuillaume, Sa Vie et son Oeuvre (London: W. E. Hill & Sons, 1972, in French,
English, and German), p. 104. A catalogue appears on p. 104 which furnishes a list of years and the number
of instruments made each year.

2Maurice W. Riley, Op. cit. pp. 225-227.

English and French Violas

Plate 60. Viola by Benoit Fleury, Paris, c. 1760.
Photographs furnished by Bein & Fushi. (No. 1886).

100

The History of the Viola

Plate 61. Viola by Nicholas Lupot, Paris, 1808.
Photographs furnished by William Moennig & Son.

English and French Violas

101

Plate 62. Viola by Jean Baptiste Vuillaume, #1578, Paris, c. 1842-44.
Photographs furnished by Bein & Fushi. (No. 7713).

102

The History of the Viola

Plate 63. Viola by Jean Baptiste Vuillaume #2603, Paris, 1865.
Photographs furnished by William Moennig & Son.

CHAPTER VI

EXPERIMENTS IN THE DESIGN
OF THE VIOLA

TFhe following Chapter is an addenda to Chapter XII of Volume I of The
History of the Viola, in which part of the title read, “Experiments to ‘Im¬
prove’ the Instrument.” Two driving forces impelled luthiers to satisfy the
violists’ demands (1) to produce an instrument with the tone quality of
brilliance and resonance comparable to that of the violin and the cello; and
(2) to craft an instrument that would be easier for violists to play with equal
facility on all four strings in all registers. To illustrate the two types of
experiments mentioned above photographs and dimensions of six instru¬
ments are described.

The John Magashazi Violas

John Magashazi of Woodstock, Ontario, Canada, exhibited two violas at
the IX International Viola Congress held in Toronto in 1981. These instru¬
ments were designed to produce a more resonant sound than violas made in
traditional models of comparable dimensions, and are a very interesting
example of experimentation with a new design for the viola. The photo¬
graphs included herein unfortunately do not completely show the wave-like
surface contour on the top and on the back of these instruments, necessi¬
tating the C-hole to be cut into the middle ribs.

Magashazi, who trained in woodworking in Hungary and Austria before
emigrating to Canada, is now a full-time technical teacher at Woodstock
Collegiate Institute in Woodstock, Ontario. In a letter to the author he
explains his objective:

“My aim is to create the instrument with a more powerful tone, ease of response,
uniform on all four strings, with enough resonance for larger concert halls, and without
the loss of fine tone quality.

“As you noticed on the two violas, I maintained the traditional styles. However, the
top and bottom plates are of different nature, the sound holes are placed in the sides of
the C’s of the middle bouts. [Actually they are C-holes placed in the ribs of the middle
bout.] The purpose of this is as follows:

103

104

The History of the Viola

Plate 64. Viola by John Magashazi, No. 1, Woodstock, Ontario, Canada, c. 1979.
Photographs furnished by John Magashazi.

“1. To increase the vibrating areas without increasing the overall size (for the sake of
playability).

“2. The prevention of cutting through the wood fibers, thus eliminating parts of the
plate to co- vibrate (if the /-holes were in the top).

“3. As it is an acoustical law that smooth surfaces and concave surfaces are bad sound
producers and sound distributors, I created as many ‘non-smooth’ and convex areas as
possible.”

Magashazi’s violas created much interest at the IX Viola Congress.
Among those who showed particular attention to these violas were Bernard
Zaslav, the Soviet violist Feodor Drushynin, and Dr. William Primrose.

As the range of music for the viola more and more required playing in
the higher positions the performer was confronted with the problem of
reaching across the wide upper bout. Playing in the higher positions on the
A string of the large violas was difficult enough, but playing on the lower
strings in the higher positions of the large violas was almost impossible. An

Experiments in the Design of the Viola

105

Plate 65. Viola by John Magashazi, No. 2, Woodstock, Ontario, Canada, c. 1979.
Photographs furnished by John Magashazi.

early example of an attempt to remedy this problem is the viola made by the
Niirnberg luthier, Ernst Busch, in 1641 (Plate 66). This instrument was
purchased for The Shrine to Music Museum, Vermillion, South Dakota,
with money from the Arne B. and F. Larson Fund in 1989.

Several luthiers during the 19th and 20th centuries have attempted to
design a viola that accomodates reaching across the upper right bout to play
in the higher positions. This is illustrated by the following photographs and
descriptions of three instruments. These violas belong to and are played by
violist, Pierre-Henri Xuereb of Paris, France; by chemist-medical doctor,
and amateur violist, Prof. Dr. Dr. Volker Klingmuller of Mannheim, West
Germany; and by violist Prof. Rivka Golani of Toronto, Canada. The name
of the maker of Xuereb’s viola is unknown; Klingmuller’s is by Johann Evan¬
gelist Bader of Mittenwald; Golani’s is by Otto Erdesz of Ft. Lee, New
Jersey.

106

The History of the Viola

Plate 66. Viola by Ernst Busch, Niirnberg, 1641.
Photographs furnished by The Shrine to Music Museum. (No. 4481).

The Ernst Busch Viola

The viola in Plate 66 was made by Ernst Busch in 1641 in Niirnburg. It
has the following dimensions:

String length — 41.3 cm. (16 1/4 in.)

Body length — 43.2 cm. (17 in.)

Upper bout — 18.5 cm. ( 7 1/4 in.)

Middle bout — 14.3 cm. ( 5 5/8 in.)

Lower bout — 23.8 cm. ( 9 3/8 in.).

The varnish is a golden brown color. The back is formed of two pieces
of slab-cut maple; the top is formed of one piece of spruce.

The festoon-shaped body has marquetry flowers inlaid at the points and
a net-work design in the center of the back. It has modified flame sound-
holes. The grafted scroll is not the original scroll. The pegbox is made of
pearwood.

Experiments in the Design of the Viola

107

Plate 67. Viola by Unknown Maker, c. 1850.
Photographs furnished by Pierre-Henri Xuereb.

The tapered upper bout makes it easier for the performer to play in the
higher positions than was posible on the rounded upper bouts of large tra¬
ditionally shaped violas.

The Pierre-Henri Xuereb Viola

The viola in Plate 67 was made by an unknown luthier, c. 1850. It has
not only sloping shoulders, but also has an additional indentation on the
upper right bout to make it easier for the player’s left hand to reach the
higher positions. Xuereb writes that his viola is gezetztich geschutzt (big
tone: literally “loud sounding cannon”) model with a body length of 41.7 cm.

108

The History of the Viola

(16 3/8 in). In addition to the shape of the shoulders, other unusual features
include a lion’s head in place of the scroll, no corners between the upper and
middle bout, and /holes that resemble very early designs. The instrument
has been certified by Vhakn Y. Nigogesian of New York City. In response to
a request for the history of this instrument, Xuereb wrote, “probably very
interesting, but unknown.’’ He believes that it was made around 1850, and
observes:

“I found a smaller version of my viola, which is listed as ‘Philomele,’ in the Harne-
man Museum in London. It has the exact same lion’s head and unusual body shape and
/holes; and the name of the maker is unknown.”

The dimensions of the Xuereb Viola are:

Body length — 41.7 cm. (16 3/8 in.)
Upper bout — 22.5 cm. ( 8 7/8 in.)
Middle bout — 15.8 cm. ( 5 13/16 in.)
Lower bout — 28.7 cm. (11 5/16 in.).

The Klingmiiller-Bader Viola

The Klingmiiller-Bader viola in Plate 68 was made by Johann Evangelist
Bader in 1955, in Mittenwald, Germany.1 It has an asymmetrical design,
with the upper bout smaller on the right side than on the left side. To
compensate for this the lower bout is just the reverse with the right side
larger than the left side. The whole right half of the viola has the same total
surface and volume as the whole left side.

The purpose of this diminished right upper bout is to facilitate playing
in the higher positions by making the reach across the upper bout shorter
and more comfortable for the performer’s left hand. Also, this asymmetrical
design with the left side of the lower bout smaller than the right side makes
it easier and more comfortable to place the viola at the desired place be¬
tween the chin and the shoulder or chest.

The Bader viola is such a departure from the traditional design that the

/ohann Evangelist Bader (1876-?) was born in Mittenwald into a family of luthiers. He completed the
course in Violin Making at the Mittenwald School, and also taught there briefly. He also worked in the shops
of Karl Adam Horlein in Wurzburg; Johann Padewet of Carlsruhe; O. Migge at Koblenz; and Fiorini at
Munich. In 1901 he established his own shop at Mittenwald and made instruments after the models by
Stradivarius, Guraneri, N. Amati, and Maggini. He was also famous as a restorer. According to Vannes, he
became one of the best makers in Mittenwald.

Experiments in the Design of the Viola

109

Plate 68. Viola by Johann Evangelist Bader, Mittenwald, 1955.
Photographs furnished by John H. Riley. By permission of Prof. Dr. Dr. Volker

Klingmuller.

instrument was described with accompanying photographs and drawings in
an article by the maker.2

2“Ein neuer Vorschlag zur Losung des Bratschenproblems” (A New Proposal for Solving the Violist’s
Problems), which appeared in Instrumentenbau-Zeitschrift, August 1953, pp. 46-48. This article was re¬
printed and discussed by Eric von Holst in his journal, 4. Biologisches J ahrescheft 1964, pp. 83-87. It is from
this article that the information about this viola was obtained.

110

The History of the Viola

The three drawings in Example 1 depict: (a) the back of a traditional
large viola with the end blocks darkened, and with horizontal lines crossing
the instrument; (b) shows the shape of the Bader viola with the end blocks
in the upper and lower pointed extensions, whose size (horizontal lines)
compares to the viola in (a); (c) small viola is superimposed on viola in (b)
showing that the upper right bout and the lower left bout coincide. This
gives the violist playing the Bader viola the ease of playing the smaller sized
instrument, while producing a large volume sound.

The dimensions of the Klingmuller-Bader Viola are:

Body length — 44.9 cm. (17 13/16 in.)

Upper bout — -21.1 cm. ( 8 5/16 in.)

Middle bout — 13.5 cm. ( 5 5/16 in.)

Lower bout — 25.5 cm. (10 in.).

The color of the viola is golden orange. Its top is one-piece spruce, its
bottom is two-piece maple.

The Golani-Erdesz Viola

The Golani-Erdesz “Viola Virtuoso” model viola was designed and
made by Otto Erdesz in 1978 to make it possible for Rivka Golani (Sander-
ling), and artist-violists like her, to reach the upper positions on a relatively
large viola (42.3 cm. , 16 5/8 in.). The outer edge (shoulder) of the upper right
bout is arched inward. This instrument is described in Volume I of The
History of the Viola, pp. 237-8. Photographs from this first book are re¬
printed in Plate 69.

Otto Alexander Erdesz was born in Bratislava, Hungary (Czechoslova¬
kia) in 1917. He received his musical training in Budapest. He worked in
New York City, 1956-73; in Israel, 1973-74; in Toronto, Canada, 1974-83;
in Ft. Lee, New Jersey, 1983-.

Experiments in the Design of the Viola

111

Plate 69. Viola by Otto Erdesz, Toronto, 1978.
Photographs furnished by Otto Erdesz.

112

The History of the Viola

CONCLUSION TO PART ONE: 20TH CENTURY VIOLAS

Many of the masterpieces made by luthiers in Italy and other countries
are no longer available to performers because they are now in museums or
they are a part of permanent private collections. Many of the once fine
instruments have been damaged beyond repair, or are lost, or worn out by
careless or thoughtless players, or they are the victims of the attrition of
time.

The result has been that the prices of the great violas, when available,
have soared far beyond the affordability of most violists. Fortunately more
and more fine violas are now being produced world-wide in the shops of
contemporary luthiers. This situation has been greatly motivated by the
exhibits and competitions sponsored by the Violin Society of America, and
the Kaplan-Goodkind Scholarships awarded by this organization to young
prospective luthiers, enabling them to attend a school that offers training in
the skills of violin making. Many of the contemporary violas are quality
instruments. The fine instruments made by contemporary luthiers are usu¬
ally priced in a range that makes them available to the average violist.3

The likelihood of comtemporary Italian instruments gaining a reputa¬
tion of being superior to those made in other countries is now highly remote.
Fortunately, fine contemporary string instruments, including violas, are
now being produced not only in Italy, but also in England and France,
throughout Europe, in North and South America, in Japan, Korea, and
China.

It is with regret that it has not been possible to give attention in this
book to 16th century-19th century Violas made in countries “behind The
Iron Curtain” (with the exception of “The Czechoslovakia Viola School”
contributed by the English author, Tully Potter). These were not available at
the time this book was written. Hopefully, this omission can be rectified at
some future date.

3For more about The Violin Society of America see Maurice W. Riley, Op. cit., pp. 294, 304-5, and 310.

PART TWO

RECENT RESEARCH RELATED
TO THE HISTORY OF THE VIOLA

Die Internationalen Viola-Gesellschaft (The International Viola Society)
from its inception in 1968 has promoted both performance and research as
being related factors that would promote and advance the status of the viola
in the world of music.1 Already the IVG is furnishing violists with a consid¬
erable quantity of newly published music, which was written originally for
the viola during the Baroque, the Classic, and the Romantic Periods.

Viola research has made available historical information about the in¬
strument we play, its origin, and the development from the small (alto) and
large (tenor) sizes to its present dimensions. Viola research also has brought
to light historical information concerning the violists and the violist-com¬
posers who have left us their legacy of technical development and their
compositions for our instrument.

Viola research has made us much better informed about the special
problems and methodology related to teaching students how to play our
instrument.

Viola research has clarified many problems related to performance prac¬
tices, particularly as related to the use of small and large instrument, the use
of instruments with Baroque fittings, and the use of scordatura for viola solo
music written in a higher tuning than that used by the accompaniment.

Viola research is helping to develop a greater appreciation and accep¬
tance of comtemporary luthiers and the instruments that they are making.
This is highly essential due to the increasing scarcity of fine old instruments
made in Italy and other countries, plus the continued inflation of prices for
older instruments.

There are still many problems that need to be investigated in the areas
mentioned above. The contents of Chapter VII through Chapter XVII rep¬
resent some of the recent research that has been accomplished during the
decade 1980 to 1990.

For more about the IVG and its contributions to the present status of the viola, see Chapter XVIII.

CHAPTER VII

A TENTATIVE LIST OF AVAILABLE
VIOLA CONCERTOS FROM THE
BAROQUE, THE CLASSIC, AND THE
EARLY ROMANTIC PERIODS

Als late as the 1970’s very few violists were cognizant of the large number
of compositions written specifically for their instrument. The lack of knowl¬
edge concerning the availability of viola concertos of the Baroque, Classic,
and early Romantic periods was especially prevalent. Existing books, and
scholarly articles concerning concertos contained little or no mention of this
genre for the viola. Lack of literature on the subject pointed up the need for
research in this area.

Perusal of existing historical works written after World War II furnish
further proof that research was needed. This is best illustrated by examining
a book published in 1964 entitled The Solo Concerto by the distinguished
German musicologist, Hans Engel.2

Engel’s knowledge of existing early viola concertos was limited to the
Telemann Concerto; Michael Haydn’s Concerto for Viola, Organ (Cembalo)
and Strings; and “One each’’ (sic) by Franz Anton Hoffmeister, Alessandro
Rolla, and Johann Amon. He added that the following composers had writ¬
ten viola concertos that had been lost: Ferrandini, Joseph Ildefonso Michl,
Karl Ditters von Dittersdorf, and Joseph Reicha. Engel commented that
Karl Friedrich Zelter “wrote a most grateful Concerto, Johann Stamitz wrote
one in G Major; and Carl Stamitz, one in D Major from a set of three. ” The
only early 19th century work mentioned by Engel was Berlioz’ Harold in
Italy. He added that Johann Gottfried Arnold had made transcriptions for
the viola of his 5 Cello Concertos (composed 1802-5).

Engel obviously was unfamiliar with Franz Zeyringer’s initial catalogue
of compositions for the viola, Liter atur fur Viola, published in 1963.

2Hans Engel, The Solo Concerto, Cologne: Arno Volk Verlag, 1964, pp. 28, 84-5. This book was a part
of the series: Anthology of Music, which consisted of descriptive commentary and “A collection of complete
musical examples illustrating the history of music.”

115

116

The History of the Viola

Zeyringer listed over a hundred viola concertos composed between 1740 and
1840.

Engel was recognized as an expert, and perhaps an authority in the field
of The Concerto; but certainly he was not an expert, nor an authority re¬
garding Viola Concertos. It is not surprising, therefore, that the expression
is frequently heard that “there is very little music available from the
Baroque, the Classic, and the early Romantic periods which was written
originally for the viola”; and there is the equally disparaging remark that
“solo literature for the viola is limited almost entirely to arrangements and
transcriptions of works written for other instruments.” These statements
have become cliches which are simply not true. It is more accurate to state
that until recently there has been very little Baroque, Classical, and early
Romantic music available in modern editions written originally for the viola.

Die Internationale Viola-Gesellschaft, Vereingung zur For derung des
Violaspiels und der Violaforschung (International Viola Society, Association
for the Promotion of Viola Performance and Research) has as one of its major
activities the promotion and encouragement of research by violists and
scholars. As a result many works written originally for the viola have been
found in musical archives, libraries, museums, and private collections. In
the last forty years, music scholars have found, edited, and published an
ever-increasing number of works for the viola. Among the scholars who have
been active in searching for music composed originally for the viola are Prof.
Franz Zeyringer, from Austria, Past-President of the International Viola
Society, and from Germany, Prof. Dr. Wolfgang Sawodny, the late Walter
Lebermann, and Prof. Ulrich Driiner.

Zeyringer’s long and arduous research culminated in his definitive cat¬
alogue of compositions for the viola, which lists over 14,000 works, many of
them written originally for the viola.3

Dr. Sawodny’s invaluable research on the Viola Sonate is reported in
his article: Wolfgang Sawodny, “The Viola Sonata from the Baroque to the
Early Romantic Era, Part I: From the Beginnings to the Late Baroque and
Rococo. ” Yearbook of the International Viola Society, 1981/82, pp. 69-79.

Lebermann edited for publication over 20 compositions for the viola
that had long been out of print; of these, eleven are Viola Concertos.

Driiner also has done significant research in finding and making avail¬
able compositions that have long been out of print or which have existed only
in manuscript form. He has catalogued 141 Viola Concertos composed
between 1740 and 1840. 4 Two years after Driiner s article appeared,

3Franz Zeyringer, Literatur fur Viola, (3rd Ed,) 1985.

4Ulrich Driiner, “Das Viola-Konzert vor 1840,” Fontes Artis Musicae, Vol. 28/3, 1981, pp. 153-76.

List of Available Viola Concertos

117

Leber mann made appropriate additions to this list of Viola Concer¬
tos.5

The 141 compositions in Driiner’s article are listed alphabetically by
composer, and includes the instrumentation of the accompaniment; the
present location of the Ms, or if published, the name of the publisher and
date; and the source of information. Driiner’s article furnishes the material
essential for the research scholar who wants to investigate a particular com¬
position.

Some of the works discovered by Driiner and other research scholars
are not masterpieces. Many of them, however, have musical merit and are
worthy of study and performance. Some of these viola compositions are by
well known composers, including Georg Phillip Telemann, Johann Sebastian
Bach, Johann G. Graun, Anton and Karl Stamitz, Michael Haydn, Karl
Ditters von Dittersdorf, Franz Anton Hoffmeister, Johann Hummel, Ignaz
Playel, Joseph Schubert, Alessandro Rolla, Niccolo Paganini, and Carl Maria
von Weber. Concertos are available also in modern editions by lesser known
composers who made a significant contribution to the viola literature at a
particular court or city, but who did not get the exposure, notoriety, and
publicity that is available today with recordings, television, and the news-
media.

This article is limited to listing the presently obtainable solo viola music
with orchestral accompaniment and to Concertantes featuring two or more
instruments.

Violists can set other people s minds at rest as to the value of their own
instruments by performing and promoting its own significant literature.
They must no longer apologize for playing music written for other instru¬
ments, saying that they have a limited literature composed originally for the
viola from the Baroque, the Classic, and the early Romantic eras.

The Available Viola Concertos:

Baroque

The four available Viola Concertos from the Baroque period are:

Doemming, Johann M. (c. 1700-1760), Concerto in C (Ulrich Driiner).
Order from Ulrich Driiner, Ameisenbergstrasse 65, D-7000 Stutt¬
gart 1, West Germany.

5Walter Leber mann, “Das Viola- Konzert vor 1840, Addenda und Corrigenda,” Fontes Artis Musicae,
Vol. 30/4, 1983, pp. 220-221.

118

The History of the Viola

Gehra, August H. (1715-1785), Concerto in C. Obtain on loan from the
Edwin A. Fleisher Free Library, Logan Square, Philadelphia, PA
19103; also available from U. Driiner.

Graun, Johann G. (1702/3-1771), Concerto in E flat (Walter Leber-
mann), N. Simrock, 1975.

Telemann, Georg P. (1681-1767), Concerto in G (H.C. Wolff), Baren-
reiter, 1941.

Classic and Early Romantic

The available Viola Concertos from the Classic and early Romantic
periods are:

Benda, Georg (1722-1785), Concerto in F, c. 1775 (Walter Leberman),
B. Schott, 1968.

Bach, Johann Christian (1735-1787), Concerto in c minor (actually by
Henri Casadesus), Edition Salabert, 1947.

Berlioz, Hector (1803-1869), Harold in Italy, 1834. In many editions.

Brixi, F.X. (1732-1771), Concerto in C (Lebermann), B. Schott, 1970.

Dittersdorf, Karl D. von (1739-1799), Concerto in F, Krebs 168 (Le¬
bermann), B. Schott, 1959.

Druschetzky, Georg (c. 1765-c. 1810), Concerto in D (Schwamberger),
N. Simrock, 1972.

Handel, Georg Friedrich (1685-1759), Concerto in b minor (actually by
Henri Casadesus), Max Eschig, 1925.

Hoffmeister, Franz A. (1754-1812), Concerto in D. Published by Gun¬
ther, 1941; I.M.C., 1949; Grahl, 1952; Curci, 1966.

Hoffstetter, Roman (1742-1815), Concerto in E flat (A. Gottron), W.
Muller, 1968.

Hoffstetter, R. Concerto in C (Lebermann), B. Schott, 1971.

Hummel, Johann N. (1778-1837), Potpourri, Op. 94, Musica Rara,
1978.

Hummel, J.N., Fantasie (F. Oubradous), Musicales Transatlantiques,
1971. This is a shortened version of the above Potpourri.

Khandoschkin, Iwan (1747-1804), Concerto in C (V. Borissowsky), Rus¬
sia, 1947; Peters, Leipzig, 1968. This work (1801?) is of dubious
authenticity.

Mozart, Leopold (1719-1787), Concerto in D for Viola or Trombone
(Winemann), Eulenburg, 1977.

Paganini, Niccolo (1782-1840), Sonata per la gran Viola e Orchestra in
c minor, 1834 (U. Driiner), B. Schott, 1975.

Pleyel, Ignaz J. (1757-1831), Concerto in D, Op. 31, (C Hermann).
Grahl, 1951; Andre, 1970.

List of Available Viola Concertos

119

Reicha, Joseph (1752-1795), Concerto in E flat (M. Goldstein), N.
Simrock, 1977.

Rolla, Allesandro (1757-1841), Concerto in E flat. Op. 3/1 (S. Beck),
Ricordi, 1953.

Rolla, A., Concerto in F (P. Centurioni), Santis, 1970.

Rolla, A., Rondo in G (Sciannameo), Rarities for Strings, 1977. Note:
Rolla Composed over 20 works for viola and orchestra; many will
soon be available in modern editions.

Schubert, Joseph (1757-1837), Concerto in C (Schulz-Hauser), B.
Schott, 1967.

Stamitz, Anton (1754-1809?), Concerto #1 in B flat (W. Lebermann),
B. Schott, 1972.

Stamitz, A., Concert #2 in F (Lebermann), B. Schott, 1969.

Stamitz, A., Concerto #3 in G (Lebermann), Breitkopf & Hartel, 1971.
Stamitz, A., Concerto # 4 in D (Lebermann), Breitkopf & Hartel, 1973.
Stamitz, Karl (1746-1801), Concerto #1 in D. First published in Paris
in 1774. Available today in many editions; usually erroneously
listed as Op. 1, 1801.

Stamitz, K., Concerto #2 in A (J. Kosmala), Polish State Pub., 1974.
Originally in key of B flat with violist tuning 1/2 step higher.
Kosmala transposed orchestral parts to A for modern edition.
Stamitz, K., Concerto #3 in A (Cesky), Barenreiter, 1956.

Stamitz, Johann (1717-1757), Concerto in G (R. Laugg), Peters, 1961.
According to Lebermann this work was adapted in 1790 from an
earlier work for flute.

Wanhall, Johann B. (1739-1813), Concerto in C (Plichta), S.H.V.,
Prague, 1957; I.M.C., 1973.

Wanhall, J.B., Concerto in F (Weinman-Trotzmiiller), Doblinger, 1978.
Original was in E flat, with viola tuning 1/2 step higher. Another
version has long been available for bassoon.

Weber, Carl Maria von (1786-1826), Andante e Rondo Ungarese, 1809.

Available in many editions.

Weber, C.M. von. Variations (Andrae), Peters, 1981.

Zelter, Carl F. (1758-1832), Concerto in E flat, Grahl, 1952. (includes
cadenzas); Eulenburg, 1970; Peters of Leipzig, 1980.

Concertos for more than One Instrument

Bach, J.S. (1685-1750), Brandenburg Concerto #6 in B flat, for 2
Violas 6- Strings, BWV 1051. Available in several editions.
Dittersdorf, Karl D. von (1739-1799), Concerto in D for Viola and
Doublebass (Hoffmann), B. Schott, 1938.

120

The History of the Viola

Graupner, Johann C. (1683-1757), Concerto in D for Viola and Viola
d’Amore, c. 1728/31 (Myron Rosenblum), Market, 1966.

Haydn, Michael (1737-1806), Concerto in C for Organ (Cembalo) Viola
and Strings (Paul Angerer), Doblinger, 1970.

Prot, Felix J. (1747-1823), Symponie Concertante, # 1 for 2 Violas.
Order from Ulrich Driiner.

Stamitz, Karl (1746-1801), Symphonie Concertante in D for Violin and
Viola (Geigling), Edition Kneusslin, 1958.

Telemann, Georg P. (1681-1767), Concerto in G for 2 Violas. Available
in several editions.

Wranitzky, Anton (1761-1821), Concerto in C for 2 Violas (Hofmann),
Cesky, 1956.

The Gehra Viola Concerto

In the list above one of the four Viola concertos from the Baroque Era
is that of August Heinrich Gehra (1715-1785)

The Gehra Concerto 6 is of particular significance. It is comprised of
three movements: Moderato, Andante, and Allegro. It is a composition of
unique historical importance and received its modern premiere perfor¬
mance at the Early American Moravian Music Festival and Seminar held in
Bethlehem, Pennsylvania, June 24-30, 1957. The solo part was performed
by William Preucil, now Professor of Viola at the University of Iowa. He was
accompanied by the Festival Orchestra conducted by Thor Johnson.

The music for this performance was played from manuscript copies
found in the Music Library at Bethlehem, Pennsysvania. The manuscript
copies were edited by Thor Johnson and Donald M. McKorkle, and since
there was no full score to the concerto, they prepared one. A cadenza for
the second movement by Doris Preucil was played in the premiere perfor¬
mance. The manuscript was, and is, the only known copy of the work. It had
been copied by Johann Friedrich Peter (1746-1813) on August 15, 1767,
when Peter was a student in Germany. It is not known whether Peter knew
Gehra. The title page to the solo viola part on Peter s manuscript reads:

6Located in the Library of the Philharmonic Society of Bethlehem, Pennsylvania, Catalogue number:
Class L, 1301. James Boeringer, Director of the Moravian Music Foundation, stated, “The Foundation has
a surprisingly large amount of Gehra’s music, for no known reason.”

List of Available Viola Concertos

121

Concerto e C dur
a

Viola Concertata
Violino Primo
Violino Seconda
Viola
e

Basso

di Gehra

Very little is known about Gehra s life. The best source of information
is the lexicographer E. L. Gerber, who stated that Gehra was born in 1715
in Langenweise, near Ilmeneau. Gehra was at one time the organist of the
Hauptkirche in the city of Gera in Thiiringen, and also served as chamber
musician to a Russian court.7

Ulrich Driiner commented that although Gehra wrote many fine church
compositions, they remain mostly unknown. He speculated that the Con¬
certo was composed between 1750-60, placing it in the late Baroque period,
and in a harmonic style of the early Classic period. He observed that it
showed Italian influence of the Tartini school.8

As is typical of many works of the Baroque, there was no extant full
score. Unlike most works from the Baroque, there was no continuo part, at
least not in the manuscript copied by J. F. Peter. Another unusual feature
of the work is the way the second violin part frequently doubles the first
violin part. The “bass”? part is more like a cello part in the Classic period
than like a continuo part. William Preucil noted:

“ There is a (ripieno) viola part in the original set of parts copied by J. F. Peter. No
continuo part, but I believe that this was either meant to be realized by a keyboard player
from the bass line or to be done without. We did not use continuo at the Bethlehem
performance. ” 9

Because of the above mentioned idiosyncracies in the orchestration,
Paul Doktor, when he decided to take this concerto to Europe, asked his
friend, the late Egon Kornauth, a Salzburg composer, to provide parts for
the second violin and continuo, and cadenzas for the first and second move¬
ments. With these additions, Doktor gave the modern European premiere

7Ernst Ludwig Gerber, Historisch-biographies Lexicon der Tonkunstler, 4 Volumes, Leipzig, 1812-14.

8From Ulrich Driiner’s program notes to a concert at the Tenth International Viola Congress held in
Stuttgart, June 6, 1981. At this concert, the Spanish violist Enrique Santiago performed the Gehra Concerto.

9William Preucil, in a letter to the author, dated February 12, 1984.

122

The History of the Viola

Ex. 2. Page 1 of Score of Concerto in C Major by August H. Gehra.

List of Available Viola Concertos

123

Ex. 3. Pages 1 and 2 of Viola Solo Part to Concerto in C Major by August H. Gehra.

M.odexato

H ^

The History of the Viola

Ex. 3. Continued.

List of Available Viola Concertos

125

of the Gehra Viola Concerto in Zurich in 1959. Doktor expressed his admi¬
ration for the work:

“Its a lovely piece, once one arranges it. I embellished the solo part with a few things
and cadenzas! With those additions it became a representative work, and I for one am
convinced that the parts we added had been lost.”10

Interest in the Gehra Concerto among violists and musicologists is due
to three factors: (1) The musical quality of the work makes it worthy of study
and performance. (2) It is one of the four known Baroque concertos written
expressly for the viola as discussed previously. (3) It has great pedagogical
potential. Preucil explained its pedagogical values:

“It has excellent teaching points in regard to off-the-string bowing, double stopping,
martele at the point, barriolage bowing, and pivotal string crossing.”* 11

The first page of the score is shown in Example 2. The first two pages
of the “ Viola Concertata ” part are shown in Example 3. Both score and parts
were prepared by the Edwin A. Fleisher Collection of Orchestral Music,
and appear here with the permission of the Edwin A. Fleisher Collection
and the Moravian Music Foundation.

Conclusion

The compositions for viola with orchestral accompaniment discussed in
this Chapter do not represent a definitive and final listing of potential works
available from the Baroque, Classic, and early Romantic periods. Publishers
are aware of violists’ desire to expand their repertoire, and they will publish
more Concertos when it is justified by the demand.

10Paul Doktor, in a letter to the author, dated October 13, 1983.

11Preucil, Op. cit.

CHAPTER VIII

A PROFILE OF VIOLISTS IN THE
CLASSICAL PERIOD

Contributed by
Dr. Ann M. Woodward
University of North Carolina at Chapel Hill

Dr. Ann Woodward, the author of the following Chapter, was born in 1940 in Cincinnati,
Ohio. She was a student of viola at Oberlin College 1958-60 with William Berman; at
Curtis Institute of Music 1961-65 with Max Aronoff; at Yale University School of Music
1965-67 with David Schwartz, receiving the Doctor of Musical Arts degree, the first to
be awarded by Yale University. She is presently Professor and Chairman of Strings at the
University of North Carolina 1967-; member North Carolina Quartet 1968-1979; Society
for Performance on Original Instruments (including String Quartet) 1983-.

Viola compositions written for her include: Roger Hannay, Fantomefor Viola, Clar¬
inet, and Piano 1968 ; Harry Woodward, Suite for Viola and Piano 1961, Eight Pieces for
Viola and Piano 1969, Sonata for Viola and Piano 1987/88; Thomas Brosh, Interchange for
Viola and Electronic Piano 1974; Philip Rhodes, Partita for Solo Viola 1978. Her record¬
ings include Minnesota Composers Forum INNOVA issued 1984, published by Peters. She
made debut recitals at Carnegie Recital Hall, New York, 1978 and at Wigmore Hall,
London, 1980. Her premiers include: world, Rhodes, Partita 1978; European, Rochberg,
Sonata for Viola and Piano 1980; USA, Henze, Sonata for Viola and Piano 1980. She
presented a recital with commentary of late eighteenth century music for viola and
fortepiano on original instruments at the International Viola Congress in Boston 1985;
lectures on violists in the Classical period at the Violin Society of America, Williamsburg
1986; and at the International Viola Congresses at Ann Arbor, Michigan 1987 and at
Kassel, West Germany 1988.

She was Treasurer of The American Viola Society 1978-87. Professor Woodward is
the author of the article, “Viola,” in The New Grove Dictionary of Musical Instruments,
Vol. Ill, 198. Dr. Woodward is now, in 1990, Chairman of the Department of Music at
the University of North Carolina at Chapel Hill. She owns and plays violas by Matthias
Albani, Bolzano 1704 (ex-Courte/Blumenthal); Daniel Achatius Stadlmann, Vienna, 1725,
(restored by John Pringle of London and Chapel Hill 1985) for Baroque and Classical
performance on original instruments; viola d’amore by Johann Jacob Stadlmann, Vienna
1770.

Music histories frequently mention the names of the violinists and even some of the
violoncellists who performed the music of the Classical Period, but rarely give any men¬
tion to the violists. Dr. Woodward with laborious and scholarly research has been able to
reveal the names of many of these violists and give them their rightful credit. Much
valuable and interesting information is divulged in the following chapter.

M.W.R.

126

A Profile of Violists in the Classical Period

127

TThe following famous passage from Johann Joachim Quantz’s On Playing
the Flute (1752) opens the section called “Of the violist in Particular”: “The
viola is commonly regarded as of little importance in the musical establish¬
ment. The reason may well be that it is often played by persons who are
either still beginners in the ensemble or have no particular gifts with which
to distinguish themselves on the violin, or that the instrument yields all too
few advantages to its players, so that able people are not easily persuaded to
take it up.”1 Quantz concludes this section: “. . . he does not, I presume,
wish to remain always a violist.”2

Almost a century later, Hector Berlioz reflects on the practice of the
eighteenth century saying “. . .it was unfortunately impossible, at that time,
to write anything for the violas of a prominent character, requiring even
ordinary skill in execution. Viola-players were always taken from among the
refuse of violinists. When a musician found himself incapable of creditably
filling the place of violinist, he took refuge among the violas. Hence it arose
that the viola performers knew neither how to play the violin nor the viola. ”3

Today, most assumptions about violists in the Classical period reflect
the opinions of Quantz and Berlioz. The material presented below, however,
it based on other information drawn from the Classical period about orches¬
tral violists, viola soloists, and perceptions of the viola.

Adam Carse in his book, The Orchestra in the XVIIIth Century, gives
much valuable information about the composition of orchestras and condi¬
tions for the orchestral musician, but he does not provide details about
violists. My study of personnel lists for orchestras in Germany during the
eighteenth century, particularly the latter part, indicates that violists in
many orchestras showed remarkable stability. [See Table 1.] In Berlin, for
instance, the same four viola players — Franz Caspari, Johann Georg
Stephani, Johann Christoph Tannenberg, and Carl Ludwig Bachmann — are
found in the years 1766, 1782, and 1783. One, Johann Georg Stephani, is
possibly Hans Jurgen Steffani who is found in 1754 as well. In Mannheim,
where lists are available over a period extending from 1723 through 1782,
the names of several players recur although none with any regularity until
1745. In that year, four names are listed in the corps of trumpets and
tympani who later appear as violists — Gotz, Ferdinand Fraiizl, Bohrer, and
Wilhelm Sepp. Ferdinand Fraiizl was head trumpeter as well as violist and
was in service in Mannheim for thirty-one years; Wilhelm Sepp for thirty-

'johann Joachim Quantz, On Playing the Flute, trans. by Edward R. Reilly (New York: Schirmer, 1966),
p. 237.

2lbid. , p. 241.

3Hector Rerlioz, A Treatise upon Modern Instrumentation and Orchestration, [1843] trans. Mary Cow-
den Clarke (London: J.A. Novello, 1856), p. 26.

128

The History of the Viola

seven; Gotz for at least eleven; and Kaspar Bohrer (probably the 1745
Bohrer) began as trumpeter, spent a year in the viola section, and then
moved into the bass section. Among the other violists, Johann Philipp
Bohrer apparently played violin for eleven years, followed by eight on viola;
Ignaz Franzl, one of the concertmasters and a well-known violinist, is some¬
times found listed in the viola section; and Thadaus Hampel played both
clarinet and viola for fourteen years. In Dresden, Johann Gottfried Rohr and
Johann Gottlieb Simon (formerly an oboist) both had over fifteen years
service as violists. Also in Bonn/Cologne, Johann Gottlieb Walter and Ernest
Haveck formed the core of the viola section for about nine years.

Orchestra lists for other cities are not as encompassing as those for
Berlin, Bonn, Dresden, and Mannheim. Obviously, musicians of the period
double on other instruments, and violists perhaps more than most, although
certainly violinists are found who play flute, clarient, or oboe, and cellists
who double on bassoon or other instruments. Leopold Mozart writes of
Salzburg in 1757, “There is not a trumpeter or kettledrummer in the
princely service who does not play the violin well, who then all appear when
large-scale music is performed at Court and play second violin or viola,
which it is in the purview of whoever is in charge of the weekly direction to
order.”4 A number of versatile violists are to be found in other cities: in
Anspach, Johann Georg Walther, was a clarinetist and also a copyist; in
Bayreuth, Samuel Friedrich Leuthard, was organist in the main church;
in Dresden, Johann Adam was also ballet composer; in Mecklenburg-
Schwerin, almost all violists doubled on other instruments, the Saals as
harpists, Seelicke and Herr as waldhornists, Andrae as oboist and organist,
and Rodiger as trumpeter; in Oettinger-Wallerstein, two violists were also
schoolmasters and another one both sang bass and played trumpet; in
Schwarzburg-Rudolstadt, the violists seemed to doubled on a variety of
instruments, to the point where the prince s footman, Johann Melchior
Meyer, was used as a substitute player when the others were occupied with
wind playing! On the whole, violists seem to be the most anonymous of
orchestra players, sometimes being lost in listings as generic violinists or
wind players. Although a number of violists doubled on other instruments
and some indeed may have played only viola late in their careers, I have
found no evidence in Germany that violists moved into the violin section or
had mobility to other orchestras as did the more outstanding players on
other instruments. One memorable name appears in the Bonn/Cologne viola
section from 1791, Beethoven, who was certainly not going “to remain al-

4“Nachtricht von dem gegenwartigen Zustande der Musik Sr. Hochfurstl, Gnaden des Erzbischoff’s zu
Salzburg im Jahr 1757” in Historische-kritische Beystrage zur Aufname der Musik, (1757), iii, cited by Neal
Zaslow in record notes “Mozart and the symphonic traditions of his time, Salzburg and its Orchestra,” for
Wolfgang Amadeus Mozart, The Symphonies: Salzburg (London: Decca, 1981), p. 3.

A Profile of Violists in the Classical Period

129

ways a violist.” Of course, even at the time he was not only a violist. At the
end of the orchestra listing in the Musikalische Korrespondence is the state¬
ment: “Piano concertos are played by Hr. Ludwig von Bethoven [sic]. . . .5
Only a year later, Beethoven was to leave Bonn to live permanently in
Vienna.

A practice highlighted in the above-mentioned 1791 report on the
Bonn/Cologne orchestra was that of having a solo violinist play any concer-
tante viola parts. “Concertante violas will be played by the violin soloists [on
viola].”6 Leopold Mozart in his Serenata in D Major, a piece that contains a
virtuoso trombone part, writes: “In the absence of a good trombone player,
a good violinist can play it on the viola.”7 In his recent book The Viennese
Concerted Mass of the Early Classical Period, Bruce Campbell Mac Intyre
states, “In isolated movements requiring viola solos, a violinist commonly
played the viola. This practice is demonstrated by the existence of such viola
solos in first violin parts. . . .”8

In Spain, the evidence for mobility from the viola section to the violin
section is quite different than that in Germany. Audition procedures from
1801 for the Royal Chapel in Madrid are set forth in a hand-written docu¬
ment and included with eleven viola sonatas written between 1778 and 1807
found in the Music Archive of the Royal in Madrid.9 This document is
described by Ulrich Driiner in the 1979 issue of Die Viola. The auditions
were to be held over a three-day period. On the first day, the candidates
were to play a sonata of their own choice. On the second, they were to read
a sonata for viola and bass written expressly for the the audition — each
candidate was to have four minutes to preview the unfamiliar work — the
sonatas are four to twelve pages in length. On the third day came the
orchestral test. After playing a motet in the original key with singers and
other instrumentalists, the candidate was to play the first ten measures
transposed down a half-step. The description of the audition procedures
makes it clear that considerable proficiency was expected of the candidates
aspiring to the viola position. But the Madrid document contains more
information that is quite illuminating. A note states that, after achieving the
necessary seniority in the viola position at the Royal Chapel, a step up to the

5Musikalischen Korrespondence, 13 July 1791, cols. 220-222. Translations of original languages of texts
are by the author unless otherwise noted.

6Ibid., col. 220.

7Leopold Mozart, Serenata in D Major, 1st. ed.; ed. by Alexander Weinmann, (Zurich: E. Eulenberg,
1977), cited in the foreword.

8Bruce Campbell Mac Intyre, The Viennese Concerted Mass of the Early Classic Period (Ann Arbor:
UMI Research Press, 1986), p. 105.

9Ulrich Driiner, “Eine Probespielordnung aus dem Jahre 1801”, Die Viola: Jahrbuch der Internatio¬
nal Viola Forschungsgelsellschaft, I (Barenreiter: Kassel, 1979), pp. 29-30. The information about audition
procedures is paraphrased by the author from Driiner’s German translation of the original Spanish.

130

The History of the Viola

violin section is considered. Therefore, it was also required that candidates
for the viola position audition on violin. Five days were given after the viola
auditions for the candidates to change over to violin and prepare for the
three-day violin audition. The procedure for violin was essentially the same
as for viola. Although this written document is unique, to my knowledge, its
preservation with audition sonatas whose dates span almost three decades
suggests that it was a standard practice in Madrid.

Many viola concertos were written in the late-eighteenth and early-
nineteenth centuries. Who played them? Often the composer himself was
the violist — or the works were written for his pupils. With few exceptions,
the best violists of the day were violinists. Forkels Musikalischer Almanack
fur Deutschland, published in the years 1782-84, contains a register of
pre-eminent musicians in Germany. Violinists number forty-two, forty-
eight, and fifty-nine in successive years; cellists, fourteen, eighteen, and
twenty-one. Four violists are named in the first year, five in the next two
years. I quote the descriptions of these men. Carl Ludwig Bachmann of
Berlin “is said to be a good concert player on the viola”; Christian Danner of
Mannheim, “an excellent virtuoso, as good on the violin as on the viola”;
Johann Friedrich Franz of Weimar, is “not only a good concert player, but
also an apt composer for his instrument”; F.A. von Weber, Kapellmeister in
Eutin, “On his tours which he made about 7 or 8 years ago, he was heard on
the viola.”10 Forkel s information is minimal and seems often to be second¬
hand and out of date. For instance, Christian Danner is not mentioned
elsewhere as a violist in Mannheim, and F. A. von Weber would only have
played viola on a temporary basis. The fifth violist added in Forkel s next two
volumes is Carl Stamitz, “formerly in Mannheim but now in the service of
the Duke of Noailles. Mainly he plays the viola although most of his com¬
positions are for the violin.”* 11

But it is Carl Stamitz who is the best known and perhaps the only
touring virtuoso violist in the late eighteenth century. He was born in 1745
in Mannheim where his father, Johann, was an important musical influence.
Carl himself played second violin in the court orchestra for eight years, from
1762-1770. In 1770, he and his younger brother, Anton, left Mannheim for
Paris where they were active performers in the Concert spirituel. Because
the surname Stamitz is often used without the first name, it is sometimes
difficult to differentiate between the two. Carl served as court composer and
conductor for Duke Louis of Noailles in Paris from about 1771 until 1777,
however he toured as a virtuoso player of violin, viola, and viola d’amore
even during his service to the Duke. In December of 1772, he appeared in

10Musihalischer Almanach fur Deutschland, 1782, ed. by J. N. Forkel, pp. 101-2.

lllbid, 1783, p. 98.]

A Profile of Violists in the Classical Period

131

Vienna on the second academy or concert of the Tonkiinstler-Societat, be¬
tween the two parts of an oratorio, in a “concerto for alto viola by Herr
Stamitz, touring virtuoso.”12 In 1773 and 1774 he concertized in Frankfurt
am Main, Augsburg, Vienna again, and Strasbourg. He was in London in the
late seventies; in The Hague sometime after 1779, where he appeared pri¬
marily as a viola soloist in no fewer than twenty-eight concerts between the
spring of 1782 and summer of 1784; in 1785, he performed in Hamburg and
Liibeck; 1786, Magdeburg, Leipzig, and Berlin; 1787, Dresden, Halle, and
Prague; and in the late eighties, Kassel. From 1790 on, it appears that
Stamitz busied himself more and more with commissions for compositions.
Marriage, children, and the illness of his wife led him to seek a permanent
appointment at the court of the Duke of Mecklenburg-Schwerin, but with¬
out success. The latter half of the nineties he spent in Jena, where he held
an appointment as Kapellmeister and teacher of music at the university. He
died there in 1801. His financial affairs at the time were in such bad shape
that his possessions had to be auctioned. Stamitz, at the time of his death,
wrote a will which stated that: “The good viola should be sold in Russia for
200 Duk[ats].”13 The viola was not included in the auction of his belongings.
Instead, the instrument maker Jacob August Otto was consulted as to its
worth and the best disposition of it. Otto felt the instrument would be of
extraordinary worth not only because of its rarity, having been made by the
most famous Stainer, but also and above all because of the outstanding tone
that this viola had — to him, none had appeared with which he could compare
[it] although indeed he had had very many instruments in his hands, and the
deceased had also placed a very great value on it. Stamitz bought the in¬
strument in France and had been offered a great deal more for it in England.
He did not give it up, however, because he had to earn his bread with it. For
the sale of this viola, Otto’s recommendation was to advertise for a consid¬
erable time in the German advertising periodicals and especially the English
papers because, certainly, in Jena, there would be no one who could pay
enough for the Stainer.14

For today’s violists, Stamitz stands as the first person to present the
viola as a viable solo instrument through his activities as a performer and
composer. His Concerto in D Major, Opus 1, is one of the period’s standard
works that is studied and performed by almost all violists today. Solo works
include two other viola concertos and one sonata for fortepiano and viola.
Numerous other compositions, including chamber works and symphony
concertants, round out his output of works for the viola.

12Eduard Hanslick, Geschichte das Concertwesens in Wien, (Wien: Wilhelm Braumuller, 1869), p. 30.
13Friedrich Carl Kaiser, “Carl Stamitz (1745-1801), Biographische Beitrage, das symphonische Werk,
thematischer Katalog der Orchesterwerke,” (Marburg: diss., 1962), p. 79. I wish to thank Eugene K. Wolf for
providing me with relevant information from the Kaiser dissertation.

14Ibid., pp. 82-83. [Freely paraphrased.]

132

The History of the Viola

In Italy Allessandro Rolla, born in 1757, is a classic example of the
violin-viola virtuoso of the time. His career began in the ducal court at
Parma, which he entered in 1782 as first violist of the Royal Orchestra. Ten
years later, he became first violinist and head of the orchestra. The twenty
year period in Parma was very rich and fruitful in his life and work. The
munificence of the Duke guaranteed a good life, one of serenity and cre¬
ativity in an atmosphere of cultural and intellectual stimulation. Further¬
more, the Duke also granted him freedom of movement for concerts and
exhibitions outside of the ducal state.15 His fame grew nationally and inter¬
nationally, and as early as 1785, some of his works were published in Vienna,
Offenbach, and Paris. In 1794, he was elected to the Reale Academia Fil-
harmonica de Bologna as honorary mastercomposer and also to the Royal
Academy of Modena.16 Carlo Gervasoni, in his Nuova Teoria de Musica of
1812, writes about concerts in September of 1799, saying “I was present in
Bergamo at the magnificent musical functions which he [Rolla] directed in
three churches of that city; in which circumstances he performed one of his
most beautiful concertos for viola, which was unusually well received by the
public. ”17 Two concertos from 1799 are indeed quite good. In 1802, after the
death of the Duke of Parma, Rolla accepted the job as head of the orchestra
of La Scala in Milan, a position that he held until 1833. In 1808, when the
Milan Conservatory was established to train musicians for work at La Scala,
he became the first teacher of violin and viola. He taught there until 1835.
Because his long and distinguished career goes beyond the Classical Period,
further elaboration of his accomplishments will be omitted other than to
mention his compositions for viola. He wrote fifteen viola concertos — far
more than any other composer of the time — and three sonatas for viola and
bass that are quite similar to the audition sonatas from Madrid. His large
output also included numerous duets, trios, and other chamber works that
use the viola fully. Rolla died at the age of 84 in 1841. Until 1816, Rolla
owned a beautiful Grancino viola which, because of economic restrictions,
he sold to the Count del Borgo, an official at the Royal Regiments.

Late eighteenth- and early nineteenth-century writings describe the
function and sound quality of violas. In Forkel’s Musicalischer Almanack of
1782, we read:

“The viola stands between the violin and cello in the middle. Its primary function is
accompaniment; there it is indispensible. Where the viola is lacking, there the whole is
lacking — a link missing in the chain.

15Luigi Inzaghi and Luigi Alberto Bianchi, Alessandro Rolla Catalogo tematico delle opere (Milan:
Nuove Edizioni, n.d. [1981]), pp. 19-22. The material in the section about Rolla is paraphrased by the author
from Inzaghi and Bianchi.

16Ibid., p. 20.

17 Ibid., p. 22.

A Profile of Violists in the Classical Period

133

“It is used either to help create decisive power or to help express particular senti¬
ments.

“It belongs among the instruments which are essential for coloring.

“If it is to shine forth heroically, if it is to be heard as a solo, then its treatment
requires perhaps more taste, more prudence, more clarity in handling than any other
instrument; at all events, through the violation of these principles, it becomes more
unbearable to the ear than any other. But would anyone who has heard a Stamitz play the
viola with a taste for majesty and tenderness, which appears to be peculiar only to him,
not then declare himself for the viola, would he not then accept it among his favorite
instruments.”18

Christian Friedrich Daniel Schubart in his Ideen zu einer Aesthetik der
Tonkunst of 1806 speaks of the viola as:

“An alto violin which offers great service to music. In recent times, it has been
adopted with great effect also for solo playing. Yet this instrument has such a sadness, such
a disposition toward gentle lamentation that one cannot listen to it alone for very long. In
most of the present-day operas and church pieces, two violas are used. The composer
must, however, exercise great caution if he will not fall, through the use of it, into bad
sounds and into crossings with other instruments, and into the damaging of the harmony.

“It is in the nature of the instrument that the sound of the viola is extremely pen¬
etrating, almost like the tone of glass. Every new stroke must be so incisive that it cuts
through the whole sympnony as a pair of scissors. It is unfortunate, therefore, if one puts
only mechanical or mediocre heads on the viola.”19

In early nineteenth-century Paris, Mehul experimented with a scoring
using violas with no violins. His most notable work using this instrumenta¬
tion was the opera Uthal produced in Paris in 1806. Many critics complained
about the scoring of Uthal, and Berlioz quotes Gretry as saying, “I would
give a louis [gold piece] to hear a chanterelle [e string]!”20

A number of performance problems encountered by violists in the Clas¬
sical period were addressed in an 1806 article entitled “Proposals for the
improvement of the usual viola” by C. H. Fiedler published in Reichardt’s
Berlinische Musikalische Zeitung21 I quote at length from that article:

“One often laments that one cannot play, at will, well and clearly, the very high
passages in concertos on the viola, and when, in quartets and similar works, in the viola
part, occasional unexpected notes appear in the G or violin clef, one cannot immediately
find them. In order to help one out of this difficulty, I wish to report what steps I have
taken for the modification of my viola. Although I am not the first, as I subsequently

18Muskalischer Almanack fur Deutschland, op. cit., pp. 89-90.

19Christian Friedrich Daniel Schubart, Ideen zu einer Aesthetik der Tonkunst (Wien: J. V. Degen, 1806),
p.299.

20Hector Berlioz, Traite d’ instrumentation et d’ orchestration. Nouvelle Edition suive de “L’art du chef
d’orchestre”, Appendice par Ch. M. Widor (Paris: Henry Lemoine, n.d. [1870]; reprint, Farnborough:
Gregg, 1970), p. 37.

21C. H. Fiedler, “Vorschlage zur Verbesserung der gewohnlichen Bratsche,” Berlinsche Musikalische
Zeitung, ed. by Johann Friedrich Reichardt, Vol.2, No. 14, (1806), pp. 53-4.

134

The History of the Viola

learned, who has come upon this idea, yet it is not yet so generally known as it indeed
deserves to be. I have put on my viola a fifth string or e string. ”

[N.B. The violinist Michel Woldemar had done this in the late eighteenth century
was called his modification the violon-alto. He wrote a concerto for this instrument that
was published sometime before 1798.]

“This change also has the following advantages, among others, for the violist: 1) He
can now play purely and well in the extreme heights on this viola, fitted with five strings,
and more conveniently and with more security. 2) When he wishes to play a violin part,
he does not need to take another instrument.

“For the leader of an orchestra who directs with the violin, such an alto violin — if one
wishes to call it thus — would be far more useful than the usual violin; for 1) this instru¬
ment has a better and more penetrating tone; 2) a director can far more conveniently and
suitably help out both singers and instrumentalists, both low and high parts, as the
occasions arise, and 3) [he can] better accompany the recitatives with it . . .

[Fiedler gives precise instructions for adding an extra peg and the spacing of the
strings is omitted here.]

“Since, on the viola, the e string is considerably longer than on the violin, and thus
requires a greater tension in order to produce the tone e, then one must apply himself in
the extreme to select the finest [thinnest] and best e string which, however, must have a
proper relationship and make a pure e with the a string, otherwise it will not last. I have
tried e strings of silk, but these strings, made in Germany, did not last any better than the
usual gut strings. Perhaps the strings of this type which have been invented in France by
Citizen Baud in Versaille, are more useful. And now, briefly about something else.

“Experience confirms that strings become false from the sweat of the hand, break
easily, and also in general, that this is very troublesome in playing. One keeps available
in the left coat always a handful of bran, and often rubs the left hand with it. This stops,
for a while, the pores, and reduces the perspiration.”

This practical wisdom from Fiedler, combined with other insights from
the period, may be helpful in providing a profile of violists in the Classical
period.

Table 1

Eighteenth-Century German Orchestras:

Violists and Sizes of String Sections
Derived From Eighteenth-Century German Sources

ANSPACH

1782 (12 vn., 3 va., 5 vc., 4 cb.): Johann Adam Steinhausser, Joh. Georg Walther,
sen. (also clarinet and copyist), Johann Michael Horst.

1789, 28 January (12 vn., 2 va., 2 vc., 1 cb.): Hr. StainhaBer, Hr. Bolz.

BAYREUTH

1766, 30 October (11 vn., 2 va., 4 vc., 2 cb.): Sam. Fried. Leuthard, sen. (at the same
time, organist in the main church), Joh. Lorenz Steinhaser.

BENTHEIM

1783, 31 Juli. (3 vnl., 3 vn2., 2 va., 2 vc., 1 cb.): J.C. Daniel, C. Soning.

A Profile of Violists in the Classical Period

135

Table 1 (Continued)

BERLIN

1754 (12 vn., 3 va., 4 vc., 2 cb.,): Engke, Franz, Hans Jurgen Steffani [possibly same
as Johann Georg Stephani?].

1766, July (12 vn., 4 va., 4 vc., 2 cb.,): Franz Caspari, Joh. George Stephani, Johann
Christoph Tannenberg, Carl Ludwig Bachmann.

1782 (5 vnl., 7 vn2, 4 va., 4 vc., 3 cb.): Franz Caspari, Joh. Georg Stephani, Joh.
Christoph Tennenberg, Carl Ludwig Bachmann.

1783, 28 May (6 vnl., 6 vn2. (1 vacant), 4 va., 6 vc., 3 cb. (1 vacant): Franz Caspari,
J. Georg Stephani, J. Christ. Tannenberg, Carl Ludwig Bachmann.

BONN/KOLN

1782 (7 vn. + 4 apprentices, 4 va., 2 cb.): Joseph Magdefrau, Franz Tussn, Bernard
Jos. Meurer, Joh. Gottlieb Walter.

1783, 30 March (9 vn. + 2 apprentices, 2 va., 2 vc., 2 cb.): Haveck, Walther.

1791, 26 January (9 vn., 2 va., 1 vc., 3 cb.): Ernest Haveck, Gottlieb Walter.

1791, 13 July (17 vn., 4 va., 3 vc., 3 cb.): Havek, Walter, Beethoven, Lur.

CASSEL

1782 (5 vnl., 6 vn2., 1 va. , 2 vc., 2 cb.,): Holzapfel.

1783, 22 January (7 vnl., 7 vn2., 2 va., 2 vc., 2 cb.): Holzapfel, Grossheim, jun.

1783, 14 July (6 vnl., 6 vn2., 1 or 2 va., 4 vc., 1 cb.): Holzapfel, Grossbein, sen. (In
place of Hr. Holzapfel, Hr. Grosheim the elder, from Hesse must substitute.)

DRESDEN

1764 (17 vn., 4 va., 5 vc., 3 cb.): Johann Adam (Ballet composer), Joh. Huber, Joh.
Gottfried Stohr [sic], Joh. David Lange.

1766, July (20 vn., 4 va. , 3 vc., 3 cb.): Joh. Adam (Ballet composer), Herr Gottfried
Rohr, Herr Johann Davit Lange, Herr Simon (formerly oboist in the Life-
Guards, he made himself known through writing all sorts of small pieces for
oboe bands).

1782 (16 vn., 4 va. , 3 vc., 4 cb.): Herr Johann Gottlieb Horn, Johann Gottfried Rohr,
Franzl, Joh. Gottfr. Simon.

1783, 5 December (7 vnl., 7 vn2., 4 vc., 3 cb.): Herr Johann Gottfried Simon,
Johann Gottlieb Horn, Benjamin Franzl, Anton Klingner.

GOTHA

1782 (8 vn., lva.) Herr Johann Christian Hofmann.

1783, 30 July (6 vn., 2 va., 2 vc., 2 cb.): Georg Christoph Stubenrauch, Johann
Christoph Reinhardt.

MAINZ

1782 (9 vn. and va. listed together, 2 vc., 1 cb.): Niklaus Braun (only certain violist
from list).

1783, 27 July (6 vnl., 6 vn2., 2 va., 2 vc., 2 cb.): Nicolaus Braun, Johann Sarburger.
1790, 10 November (12 vn., 2 va. , 2 vc., 2 cb.): Niklaus Braun, Adam Boesseng.

(< continued)

136

The History of the Viola

Table 1 (Continued)

MANNHEIM/MUNICH/PFALZ

1723 (11 vn., 2 va., 2 vc., 3 cb.): Anton Donninger, Franz Krieger, (Franz Fischer,
inc. in vn.)

1734 (4 vn., 1 va., 1 vc., 3 cb.): Franz Fischer.

1745, listed under trumpets and tympani: Gotz, Ferdinand Rudolf Franzl, Bohrer,
Wilhelm Sepp.

1756 (20 vn., 4 va., 4 vc., 2 cb.): N. Gotz, Ferdinand Franzl, Johann Bohrer,
N. Lochner.

1759 (15 vn., 1 va., 4 vc., 2 cb.): Ferdinand Rudolf Frantzel, (in violins: Wilhelm
Sepp, Johann Philip Bohrer).

1767, (Pfalz) 30 November (2 concertmasters + 8 vnl., 8 vn2., 4 va., 2 vc., 2cb.):
Wilhelm Sepp. Johann Philipp Bohrer, Frenzel, Lochner.

1779 or 1780 (probably a listing of all names from both Mannheim and Munich
around the time of their merger — 40 vn., 7 va., 8 vc., 6 cb.): Philipp Heiss,
Wilhelm Sepp, Ignaz Franzl, Mathias Mayr, Thada Hampel (also clarinet),
Anton Toste, Michael Hechenthaller.

1782 (16 vn. + 5 apprentices, 3 va., 4 vc., 3 cb.): Wilhelm Sepp, Ignaz Franzl
(concertmaster), Thadaus Hampel.

(Violists in personnel list at Mannheim to 1778): Joh. Phil. Bohrer (violinist 1747-58,
violist 1759-1776), Kaspar Bohrer (trumpet 1772, viola 1774, and bass 1775-
1778), Anton Doniger (1723), Franz Fisher (1723-34), Ferdinand Franzl (head
trumpet and viola, 1747-78), Gotz (1747-58), Thaddaus Hampel (clarinet and
viola, 1764-78), Franz Krieger (1723), Wilhelm Sepp (1747-78), violinists
known also as violists: Christian Danner (1770-78), Ignaz Franzl (1747-78),
Anton Stamitz (1764-70), Karl Stamitz (1762-70).

MECKLENBURG-SCHWERIN

1782 (22 musicians listed without specifying instruments): Joh. Christ, Wilhelm Saal
(both later seen as violists).

1783, 26 July (3 vnl., 2 vn2., 2 val., 1 va2., 1 vc., 1 cb.): Val: Johann Christ,
Wilhelm Saal, sen. (harpist), Va2. Saal, jun. (harpist).

(Violists in personnel list) Friedrich Wilhelm Rodiger (Court trumpeter 1755-76),
Johann Gottfried Andrae (1760-1812 Oboist and organist, violist from 1799),
Johann Christian Saal, sen. (Harpist and violist, 1772-93), Johann Georg Herr
(Waldhornist and violist, 1786-1820), Carl Gotthelf Haase (1797-1837), August
Rodatz (Violin and Viola, 1809-57), Carl Friedrich Seelicke (Violist and Wald¬
hornist, 1821-32).

OETTINGER-WALLERSTEIN

1788, 13 August (5 vnl., 5 vn2., 3 va., 2 cb., 1st concertmaster is cellist): Hr.
Diirschmidt (Jubilatus, is Schoolmaster and teacher in the musical academy of
Wallerstein), Hr. Steinhober (at this time a schoolmster for little girls), Hr.
Bezier (trumpeter and court bass).

PRESSBURG

1783 (8 vn., 2va., 2vc., 2cb.): Theodor Lotz (at the same time, Clarinetist), Joseph
Kinel (also Copyist).

A Profile of Violists in the Classical Period

137

Table 1 (Continued)

REGENSBURG

1783 (12 vn., 2va., 2vc., 2cb.): Herr Baute, Nicolai.

SCHWARZBURG-RUDOLSTADT

1791, 20 April (10 vn., 3 va., 3 vc., 4 cb.): Johann Andreas Martini (Court organist),
Friedrich Anton Martini (court tympanist), Joh. Christoph Bitus Risch (town
piper). Note, when the last two listed are playing first flute and second horn,
the viola is often played by Johann Melchior Meyer, chamber lackey to the
Prince who also serves as his Highness’ accompanist for private practice.

TRIER

1782 (12 vn., 3 va., 2 vc., 3 cb.): Johann Jakob Reiss, Joseph Fahrmann, Lorenz
Scheidler, Georg Engel.

WORTEMBERG

1782 (13 vn., 6 va. , 3 vc., 3 cb.): Herr Hiibler, Schulsink, Grube, sen., Mayer,
Blesner, sen., Elias.

1789, 30 December (22 vn., 3 va. , 3 vc., 4 cb.): H.H. Benj. Maier, Erdenbez, Elias.

CHAPTER IX

SCORDATURA FOR THE VIOLA

.Performers more and more are becoming aware of performance practices
related to the music they play. Many books and articles have been written
which record the research that has been done in an effort to determine the
way that music was performed and how it sounded in different historical
time periods. The information that has been obtained and made available to
present day violists is particularly significant. Styles in dynamics, tempos,
ornamentation, and bowings are but a few of the problems confronting a
modern violist when performing music of the Baroque, the Classic, or the
early Romantic Period.

Michel Corrette (1709-95) in his Methode d’Alto (c. 1782) explained that
the viola should be bowed like the violin and cello, and referred the student
to the eighth page of his violin method and to the second chapter of his cello
tutor for rules and examples. Concerning ornaments, Corrette stated that
while cadences, martellements , port de voix, and coules are rarely played on
the viola, the former two embellishments sound very satisfactory on the high
string. 1

One aspect of viola performance not mentioned in the viola tutors of the
late 18th century is the use of scordatura. It was not mentioned because the
viola tutors were intended for young students, and scordatura tuning was
used by mature players who performed solos requiring advanced technique.

The two Italian words accordatura and scordatura refer to the tunings
of stringed instruments. Accordatura refers to the regular or common tuning
of an instrument. Scordatura (Italian: mis-tuning or uncommon tuning) is
the term for the practice of selecting a tuning that would better meet the
demands of performing a particular composition: (1) in order to play chords
that would otherwise be very difficult or impossible; (2) to facilitate difficult
passage work; (3) to better exploit the practice known as bariolage, in which
string crossing produces novel color effects.

Scordatura was commonly used in the lute music of the 16th and 17th
centuries, and in violin music of the 17th century. It was used by Heinrich

1Corette, Methode d’Alto, pp. 18-19.

138

Scordatura for the Viola

139

Biber (1644-1704) in 14 of his 15 Mystery Sonatas. J. S. Bach used scorda¬
tura tuning in the Sonata No. 5 for Solo Cello.2

Late in the 18th century, when the pitch in use was a half-step to a
whole-step lower than it is today, the viola was frequently tuned a half-step
or a whole-step higher than the standard accordatura in an attempt to give
the small violas, in general use at the time, a more brilliant and more
resonant projection. In 1779, when he was 23 years old, Wolfgang Amadeus
Mozart (1756-91) composed one of the most noteworthy pieces in the vio¬
list’s repertoire, Symphonie Concertante in E ^ Major for Violin, Viola, and
Orchestra, K364/320d. In this work the violist tuned his instrument a half¬
step higher than the orchestra accordatura, and played the solo part in the
key of D Major.

Many modern editions of this work are available, and with one excep¬
tion they all have transposed viola parts in the key of , so that the violist
does not have to tune his instrument up a half step. For the purist, who
wants to perform in the historical fashion, there is a version edited by Lionel
Tertis, published by the Oxford University Press, with the solo viola part in
the key of D Major. Although he played on a large Domenico Montagnana
viola which was famous for its big sound, Tertis nevertheless believed that
the higher tuning was advantageous for the violist who had to balance his
part with the violin solo part. Tertis also advocated the use of metal strings
in order to make the mechanics of tuning easier.

Mozart started another work, Symphonie Concertante in A Major for
Violin, Viola, Violoncello, and Orchestra, K.Anh. 104/320e. In this fragment
the viola part was written in the key of G, and the violist tuned his instru¬
ment up a full step. The use of scordatura tuning for the viola in Mozart’s
Symphonie Concertantes was not unique. Other composers also were using
higher tunings for viola solos. Several examples are cited below. In the
modern editons of these examples the viola and piano parts of each compo¬
sition are in the same key, unless otherwise indicated; and the viola is to be
tuned in the standard accordatura:

Johann B. Vanhal (1739-1813), Concerto for Viola and Orchestra in F Major. The
violist tuned his instrument a whole-step higher, and played in the key of Eb. Modern
edition (A. Westermann and Karl Trotzmuller), Doblinger, 1978. This Concerto was
originally written for bassoon c. 1780. The viola version, according to Westermann, prob¬
ably appeared after 1785.

Carl Stamitz (1746-1801), Sonata in B ^ for Viola and Piano. The solo part was in
A Major. The violist tuned his instrument a half-step higher. Modern editions: (G.
Lenzewski) Wieweg, 1926; (W. Primrose) I.M.C., 1956; (W. Lebermann) Schott, 1969.

_ Concerto #2 in B ^ Major. The violist tuned his instrument a half-step higher

2For a more complete history of the various forms of Scordatura see the article: David D. Boyden,
“Scordatura,” The New Grove Dictionary of Music and Musicians, Vol. 17 (1980), 56-9.

140

The History of the Viola

and played in the key of A Major. Modern edition (Jerzy Kosmala) Polist State Publisher,
1974. Kosmala transposed orchestral parts to A Major, the key of the modern edition. The
original version was composed c. 1770.

Georg Druschetsky (1745-d. after 1790), Concerto in D Major for Viola and Or¬
chestra. Modern edition: (Schwamberger) N. Simrock 1962. The violist tuned his instru¬
ment a whole-step higher and played in the key of C Major. Schwamberger believes,
based on available evidence, that the Concerto was composed late in Druschetsky’s life.

Johann G. H. Voigt (1769-1811), Concerto in C Major for Viola and Orchestra, Op.
11 (c. 1790). The violist tuned his instrument a whole-step higher, and played in the key
of . No modern editons are available.

Johann Matthias Sperger (1750-1812), Concerto in E ^ Major for Viola and Orches¬
tra. The violist tuned his instrument a half-step higher, and played in the key of D Major.

Johann Andreas Amon (1763-1825), Concerto in A Major for Viola and Orchestra,
Op. 10, J. Pleyel, in Paris, c. 1799; and also published by Janet et Cotelle, Paris, c. 1800.
The violist tuned his instrument a whole-step higher and played in the key of G Major.
See below next Concerto for description of modern editions.

_ , Concerto in E Major for Viola and Orchestra. The solo part was in ; the

violist tuned his instrument a half step higher. According to Driiner an original publica¬
tion or MS from Amon’s time is unknown. A modern set of parts is in Notenarchiv des
Bayerischen Rundfunks Studio Nurnberg.3 4

There are two modern MS editions of Amons’s Viola Concerto in A
Major. One is by Rosemary Glyde who did a transcription of the work as a
project for her doctoral thesis at the Julliard School of Music entitled, The
Concerto pour I’Alto of Johann Andreas Amon, c. 1800. 4 The second is a
version prepared jointly by Dr. Wolfgang Sawodny, viola scholar and Pro¬
fessor of Chemistry at the University of Ulm in West Germany, and Dr.
Louise Goldberg, a member of the Music Library staff at the Eastman
School of Music.5 The orchestra parts were transposed and the violist is not
required to tune his instrument to a higher pitch for either version.

Glyde transposed the solo viola part down a whole-step to A Major, the
original orchestra key. Goldberg and Sawodny decided to leave the solo part
unchanged, and Goldberg transposed the orchestra parts to the key of G
Major. It was in this key that it was performed by Walter Trampler and the
United States Air Force Orchestra at the V International Viola Congress
held in Rochester, N.Y., in 1977.

Amon’s Second Viola Concerto was never published. Copies of the solo
and orchestral parts in manuscript form were furnished to the author by the
late Walter Lebermann, viola research scholar from Rad Homburg, West
Germany. No score to the Second Viola Concerto is extant, if indeed one
ever existed. At the top of the solo viola part (I’Alto Principale) is the fol¬
lowing title and a list of the accompanying instruments written in French:

3Ulrich Driiner, “Das Viola-Konzert vor 1840,” Fontes Artis Musicae, 28/3 (1981), p. 157.

4Rosemary Glyde, “Johann Andreas Amon, Concerto pour I’Alto Principale ,” American Viola Research
Society Newsletter, No. 14, April, 1978, pp. 6-8.

5Louise Goldberg and Wolfgang Sawodny, “Johann Andreas Amon and His Solo Works for Viola,”
Yearbook of the International Viola Society, 1979, pp. 47-59.

Scordatura for the Viola

141

Ex. 4. Page 1 of Score of Duxieme Concerto pour VAlto Principale, by Johann Amon.

Deuxieme Concerto pour L’Alto Principale avec accompagnement de deux Violons,

deux Flutes, deux Cors, Alto b Bass, composee par J. Amon.

Beneath the title appears the following direction: L Alto doit etre accorde un
demi ton plus haut.

The solo viola part is scored in the key of , a half-step lower than the
orchestra parts (see Ex. 4). Note the key signature of the Alto Principale in
Ex. 4, a six measure excerpt from a full score constructed by the author. The
six bar excerpt is taken from the exposition of the first movement. It also
shows the horn parts (cors) were scored for E*7 horns. The only dynamic
changes indicated in the six bar excerpt occur in the fifth bar for the horns,
where they go from forte to piano.

The Alto Principale enters after the orchestra has completed an intro¬
duction of 57 measures (see Ex. 5, an exerpt from the first movement,
comprising bars 58-91 of the solo part). Amon, a solo violist as well as a
composer, furnished bowings to facilitate the rapid passage work. He also
showed a preference for the use of open strings, the only fingerings indicated
in the solo part. Dynamic markings are indicated even less frequently than
in the orchestral introduction thereby giving the soloist more freedom in
choosing his own interpretation.

This interesting Concerto comprises three movements: the first move¬
ment, Allegro, in 4/4 time; the second movement, Romance, in 6/8 time; and
the third movement, Rondo moderato alia Pollaka, in 3/4 time.

142

The History of the Viola

Ex. 5. Page 1 of Viola Solo Part of Duxieme Concerto pour I’Alto Principale,
by Johann Amon.

Few performances today include a work in which the viola is tuned
higher than the regular tuning. The exceptions are usually concerts of a
historical or musicological type. In this type of performance there is an effort
to obtain the closest approximation possible to the original style and sound
of the composition as it would have been heard in the composer s time.
Often Collegium Musicum groups on university campuses perform works in
this manner.

Dr. Ann Woodward, violist, and Phyllis Rappeport, pianist, performed

Scordatura for the Viola

143

the Carl Stamitz Sonata, mentioned above, at the XIII International Viola
Congress held in Boston in 1985. Even the printed program suggested by
the title the use of a different type of interpretation for the Carl Stamitz
Sonata for Fortepiano with Viola Obbligato (1778). The printed program
explained that Woodward would play on a Baroque fitted viola tuned a
half-step higher than the fortepiano, and that Rappaport would play on a
modern reproduction of a 1796 Viennese fortepiano made by Johann Jacob
Konicke. The excellent performance that followed demonstrated the beauty
and balance that can be achieved by the use of period instruments.

Scordatura tunings are not required in orchestral viola parts as often as
music assigned to the violin, cello, and double bass. An exception is in the
Richard Strauss Symphonic Poem Don Quixote. The solo viola part for the
Sancho Panza theme (Variation III) requires the violist to tune the C string
down a half-step to accomodate the low B.

Contemporary composers are using scordatura to find new colors and to
tap new technical resources in writing for stringed instruments. A solo for
viola, Der Seele Erdengang (1984) by Fernando Griller (1945- ) was per¬
formed by Oscar Hoogland at the International Viola Week held in Amster¬
dam in 1986. Hoogland, who did graduate work with William Primrose at
Indiana University, lives in Amsterdam. In a letter to the author (Nov. 15,
1989) Hoogland describes the scordatura: “ Der Seele Erdengang is a very
special piece, exploring and succeeding in many ways in producing new
writing. The scordatura tuning is a, b-flat, g, and f-sharp. This is to enable
the composer to use desired harmonics. There are many double harmonics
or combination harmonics with open strings. Also, the difference between
the a-string and the d-string tuned down a major third gives an enormous
difference in tone. Many listeners thought that I was playing on an antique
viola . . . The piece has parts which move forward followed by parts that, as
it were, seem to stand still (as in some wind ensemble music by
Stravinsky) ... I am convinced that this composition and another one of
Grillo’s works for solo viola, L Angelo Musicante ( Music Making Angel) will
remain in the repertoire of the future among the best pieces of the period
1945-1990.”

With large violas and with the higher pitch in general use today, it is no
longer necessary to tune the viola a half-step or whole-step higher in order
to make the instrument heard in large concert halls. However, for the mu-
sicological scholars or for the lover of music played in the original style on
period instruments, there continues to be a need for performances on the
higher pitched viola; and with the great potential that altered tunings open
up for new effects and new pyrotechnics, modern composers will continue to
exploit the use of scordatura.

CHAPTER X

THE IDENTITY OF L. CASIMIR-NEY ,
HIS COMPOSITIONS, AND AN
EVALUATION OF HIS 24 PRELUDES
FOR SOLO VIOLA

Who was L. E. Casimir-Ney?1 His name appears on a significant number
of 19th century works for the viola as composer, editor, and transcriber.
Among his most performed works today is a transcription for viola and piano
by Henri Valentin Alkan, Sonate de Concert pour Violoncelle et Piano, Op.
47, and his own 24 Preludes pour I’Alto Viola dans les tons de la gamme.
Composes et dedies aus Aristes par L. Casimir-Ney, Op. 22.

The Alkan Sonate was published by Richault c. 1857, and reissued by
Barenreiter in 1975. Casimir-Ney’s 24 Preludes were published between
1849 and 1853. A modern facsimilie version, edited by Quinto Maganini,
was published by Edition Musicus in 1961.

In a brief Preface L. Casimir-Ney furnished a “liste des Souscripteurs de
la Presente Publication,” which comprises 34 names and includes many of
the most famous musicians and music patrons living in Paris in the mid¬
nineteenth century including: Achille Gouffe, artist of the double-bass; Lam¬
bert Joseph Massart, Professsor of Violin at the Paris Conservatoire; Georges
Onslow, prominent omposer, and Tilmant aine (the elder), conductor of the
Orchestra of the Opera Comique.

Other works by Casimir-Ney, less well known and now out of print,

are:2

Grand Trio pour Violon, Alto et Violoncelle (ded. a Mr. Chretien
Urhan) author/Richault (before 1845).

1This Chapter was written jointly by the author and Prof. Dr. Wolfgang Sawodny (Elchingen, Germany).

2A. Baudet-Maget, Guide du Violiniste ainsi qui pour Alto et Musique de Chambre. Paris: Foetisch
Freres, 1920, pp. 253, 268; and files of Bibliotheque Nationale, Paris. (Regarding publishers of Casimir-Ney’s
compositions: In 1898 Casimir-Ney seems to have published some compositions on his own, Trio and
Preludes, which were sold by Charles Simon Richault. Richault was one of the most important publishers in
Paris from c. 1830-c. 1870. In 1895 Costallat, now Costallat & Cie, took over the publications of Richault.)

144

The Identity of L. Casimir-Ney

145

ler Quadrille brillant (pno, fl/vla) Fourmage (1842).

Quadrille “La petit Marie” (pno, via, fl, flageolet, cornet) Fourmage
(1842).

Quadrille “Le Baroque” (pno, via, fl, flageolet, cornet) Fourmage
(1842).

Quadrille (pno) Fourmage (n.d.).

Fantaisie brillante. Op. 12 (pno, via) Fourmage (n.d.).

“La Romanesca ”, Air de danse du XVI siecle

(transcr. for via d’amore and pno) Richault (n.d.).

“La Solitude”, Melodie de Schubert (transcr. for via and pno) Richault
(n.d.).

ler Quintette, Op. 24 (ded. a Achille Gouffe) (2 vn, via, vc, db) LeBel
(1850-55).

Fantaisie sur la Sicilienne de A. Gouffe, Op. 25 (vn/vla, pno) Richault
(c.1850).

18 Caprices pour violon (4eme corde), Op. 26 Richault (1856).

“Voir Callaunt” Piece de salon (pno, vn/vla) author (1856).

Polka brillante et facile (2 via) Richault (1860).

“L’amour trompeur” Chansonette Marquerie (1860).

All the above works were published in Paris.

Who was Casimir-Ney? It has been conjectured at one time or another
by violists and musical scholars that Casimir-Ney was a nom-de-plume for
Chretien Urhan, or for Niccolo Paganini, or for Henri Vieuxtemps. Casimir-
Ney s compositions, however, do not correspond to the works of any of these
artist-composers. Who, then, was Casimir-Ney? We are indebted to Dr.
Jeffrey Cooper, musicologist from Ann Arbor, Michigan, who has solved the
mystery surrounding the identity of the name L. Casimir-Ney. While re¬
searching French musical journals for material used in his recently pub¬
lished book dealing with instrumental music and musical concerts in Paris
from 1828 to 1871, 3 Cooper came across an obituary printed in the Revue et
gazette musicale de Paris in 1877, 4 which discloses the identity of L. Casimir-
Ney:

“An artist who has had a place among the most honorable musicians in the Parisien
Musical world, Louis-Casimir Escoffier, called Casimir-Ney, died February 3, in Arras,
in his 76th year. Casimir-Ney was known for his remarkable talent on the viola; for many
years he took part in our finest quartets, and even hosted in his home periodic chamber
music concerts which were always excellent.”

3Jefirey Cooper, The Rise of Instrumental Music and Concert Series in Paris, 1828-1871. Ann Arbor:
UMI Research Press, 1983.

4“Nouvelles diverses,” Revue et gazette musicale de Paris, 44/6 (11 Febrier 1877), p. 47.

146

The History of the Viola

Cooper stated that

“Casimir-Ney was mentioned frequently in the pages of the Revue et gazette as a
participant in various chamber ensembles from 1844 through at least 1866, the most
notable being the Societe Alard-Franchomme and the Seances of the cellist Charles
Lebouc and of the double bass player, Achille Gouffe. In fact, he appears to have been the
pre-eminent Parisian violist during the two decades following the death of Chretien
Urhan.”5

From the preceding information we now have the correct name and
dates for a very important French violist: Louis-Casimir Escoffier, (1801-
1877).

Cooper’s research discloses that Casimir-Ney appeared in chamber mu¬
sic concerts with many of the finest performers in Paris during the middle of
the nineteenth century. A partial list includes such notables as pianists:
Georges Bizet. Camille Saint-Saens, Cesar Franck, and Charlotte de
Malleville; violinists: Camillo Sivori, Delphine Alard, and Charles Dancla;
violist: Trompetta; cellists: Auguste Franchomme and Charles Lebouc; bass¬
ist: Achilles GoufFe; flutist: Joseph-Henri Altes; clarinetists: Chrysogone
Rose and Hyacinthe Klose; and French horn: Joseph Rousselot.

What was the reason for Louis Casimir Escoffier to use the nom-de-
plume L.E. Casimir-Ney (obtained just by interchanging his second Chris¬
tian name and his surname, adding Ney to form the fictitious surname, and
often dropping the capital E reminiscent of his true one)? Perhaps as an
earnest musician, he was reluctant to admit that most of his compositions
were of the light genre? Or didn’t he trust in his creative musical talents at
all? An indication for this may be derived from the manuscript of the ler
Quintette Op. 24, which is preserved in the Bibliotheque Nationale at Paris
in the calligraphic handwriting of A. Gouffe (dated Nov. 2, 1847). To the title
page the composer added, by his own hand, the four line verse:

“C’est pour toi quilfait, mais novice en cet art
Oii brillent Hayden, Beethoven et Mozart,

J’ai hien peu reussi et I’amitie trahie,

Malgre tous mes effort, cherche en vain le genie.’’

(I did it for you, but as a novice in this art, in which Haydn, Beethoven and Mozart
shine, I have only very little success and betrayed our friendship, in spite of all my
effort, you will look in vain for genius.)

His Grand Trio is dedicated to the famous player of the viola and viola
d’amore, Chretien Urhan, but in spite of this, the viola has no extraordinary
role, though there are quite a few difficult double-stops when it is accom¬
panying the violin, which is the leading instrument. This work must be one

’Jeffrey Cooper, in a letter to the author dated 18 March, 1983.

The Identity of L. Casimir-Ney

147

of the earliest of Casimir-Ney, though the date of publication, 1832, given by
Vidal,6 is very doubtful, it must have been written before 1845, the year
when Urhan died.

The Bibliotheque Nationale preserves the autograph of Prelude No. 1
from Op. 22, dated “1847 ”, thus giving the year of the composition.
Manganini, who edited the new edition in 1961, not knowing this fact,
believed the Preludes were published between the dates when Lambert
Joseph Massart was appointed professor at the Paris Conservatoire in 1843,
and 1853 when Onslow died. Cooper pointed out, however, that if “Tilmant
aine (the elder) was in fact Chef d’Orchestre at the Opera comique when the
first edition was prepared, the date of publication could be more closely
approximated, as Tilmant did not attain that position until 1849. ”7 Cooper s
assumption for the publication date between 1849 and 1853 corresponds well
with the date of the composition, 1947

Commenting on the Preludes, Jeffrey Wollock stated in an article pub¬
lished in 1975:8

“Casimir-Ney should be known to all violists as the author of one of the real oddities
of the literature: the 24 Preludes dans tons les Tons, Op. 22 . . . These Preludes are of real
historical significance, for as explorations and extensions of the viola technique, they are
audacious and far ahead of their time. ... It is probably true that any one who can play
these Preludes well, can play anything.”

The Preludes are seldom heard in performance. However, Ulrich von
Wrochem, German violist, and formerly principal violist of the La Scala
Opera Orchestra, performed three of the Preludes at the X International
Viola Congress held in Stuttgart in 1982. It was apparent to everyone there
that these works have both technical and musical merit.

Discussing the Preludes as etudes for technical study, Ulrich Driiner
wrote:9

“Casimir-Ney remains entirely in the tradition of the Classic- Romanic violin tech¬
nique, representing the final climax of the viola literature inspired by the violin literature
in the 19th century. The technical demands of most of his Preludes call for an extremely
small viola for performance, many sections cannot by executed on a modern viola with the
usual body length of 41 to 42 cm. (16 in.).”

6Louis-Antoine Vidal, Les Instruments a Archet: Vol. Ill, new ed. The Holland Press, London 1961, p.
CXXIV.

7Cooper, in a letter to the author dated 1 April 1985.

8Jeffrey Wollock, “A Note on Alkan, Casimir-Ney, and the Viola,” The American Viola Society News¬
letter, No. 8, February 1975, pp. 7-8.

9Ulrich Driiner, “The Viola fitude, a Survey of its History and its Problems ,” Jahrbuch der Interna-
tionalen Viola-Gesellschaft, 1981/82, pp. 55-58.

148

The History of the Viola

Ex. 6. Title Page of 24 Preludes pour I’Alto Viola by L. Casimir-Ney.

Op: 22 .

IW.vJfi''

A perusal of Prelude I (see Ex. 7) substantiates Driiner’s contention that
these compositions were intended for a smaller viola than those in general
use today. The double-stop intervals of a tenth on the 7th and 8th staves
must be played in the eighth position. The symbol beneath Prelude I indi¬
cates that the notes in the treble clef are to be played one octave higher than
written (see Ex. 8 the fifth line of Prelude XVII). This symbol also occurs in
Prelude VI, where the violist must play in the ninth position; and in Prelude
XIV, which encompasses tenth position. In Prelude XXIV (Ex. 9) the violist
is taken into the twelfth position.

The Identity of L. Casimir-Ney

149

Ex. 7. Excerpt from Preludes pour VAlto Viola by L. Casimir-Ney.

Preludes

pomr

Viola

150

The History of the Viola

Ex. 8. Excerpt from Prelude XVII from 24 Preludes pour VAlto Viola by L. Casimir-Ney.

The Identity of L. Casimir-Ney

151

Ex. 9. Excerpt from Prelude XXIV from 24 Preludes pour I’Alto Viola by L. Casimir-Ney.

152

The History of the Viola

Ex. 10. Excerpt from Prelude VII from 24 Preludes pour I’Alto Viola by L. Casimir-Ney.

The Identity of L. Casimir-Ney

153

Ex. 11. Excerpt from Prelude XX from 24 Preludes pour VAlto Viola by L. Casimir-Ney.

Tempo I.

-W-

_arco paloim;

net*.

~t— ^

-) 0—0 -

- t -

LL“L-r

154

The History of the Viola

Every Prelude has a technical problem to challenge the performer,
including a “duet” in Prelude VII (Ex. 10), and double harmonics in Prelude
XX (Ex. 11). The Preludes are certainly not works to be played by the
average violist, but they will increasingly find a place in the repertores of the
artist-performers who want to display their technical virtuosity.

CHAPTER XI

PAUL HINDEMITH S 90TH BIRTHDAY

THE PAUL-HINDEMITH-INSTITUTE

IPaul Hindemith, one of the leading composers of the 20th-century, was
born in Hanau, near Frankfort, a/M, November 16, 1895; and died in Frank¬
furt, December 28, 1963.

As mentioned in Chapter XXV, Hindemith’s 90th Birthday was honored
at the XIII Viola Congress in Boston in a recital featuring violists Walter
Trampler and Kim Kashkashian. Other concerts had been given, and con¬
tinued to be given world-wide throughout 1985 honoring the memory of this
great composer. Violists, in particular, demonstrated their gratitude and
appreciation of Hindemith, a violist himself, by performing his works.

Samuel Rhodes, Violist of the Juilliard String Quartet, gave a series of
three concerts at Carnegie Hall to commemorate Hindemith’s birthday. (See
Plate 70.) Rhodes’ three recitals, the compositions played, and the musicians
who assisted him were:

January 12: Sonata with Piano, Op. 11, No. 4; Unaccompanied Sonata,
Op. 25, No. 1; Unpublished Unaccompanied Sonata, Op. 31, No. 4 (1934);
Trio for Viola, Piano, and Heckelphone (1929). Assisting artists were Robert
MacDonald, piano, and Donald MacCourt, heckelphone.

March 23: Sonata with Piano, Op. 25, No. 4 (1922); Unaccompanied
Sonata, Op. 11, No. 5; “Des Todes Tod ” (2 violas, 2 cellos, and contralto);
Sonata with Piano (1939). Assisting artists were Cynthia Raim, piano; Jan de
Gaetani, contralto; Steven Tennenbon, viola; Joel Krosnick and Bonnie
Hampton, cello.

April 27: String Trio, No. 2; Unpublished Unaccompanied Sonata
(1937); Duo for Viola and Cello; Die Serenaden ” (soprano, oboe, viola, and
cello); String Trio, Op 34. Assisting artists were Hiroko Yajima, violin; Joel
Krosnick, cello; Henry Schuman, oboe, and Lucy Skelton, soprano.

155

156

The History of the Viola

CARNEGIE HALL PRESENTS

SAMUEL RHODE

and Guest Artists

Concerts of Mi

for Solo Viola
and Chamber
Ensemble m

Saturdays at 2:00pm
January 12,

March 23, and
April 27,1985

PARNEGIERECITALHALL

Plate 70. Announcement of Hindemith 90th Birthday Celebration Concerts by Samuel
Rhodes and Guest Artists.

Paul Hindemith and The Paul-Hindemith-Institute

157

The Paul-Hindemith-Institute

The Paul-Hindemith-Institute was founded September 6, 1974, in
Frankfurt a/M, Germany. Its headquarters is now located at Barck-
hausstrasse 1-3, D6 Frankfurt a/M, Germany.

Among the goals of the Institute is a project to reissue all of the record¬
ings in which Hindemith played the viola. Another goal is to promote the
publication of all of his unpublished works including those for viola. The
project for the viola was begun in 1977, when the Sonate fur Bratsche und
Klavier, Op. 25, No. 4 (1922) was published by B. Schott’s Sohne, in Mainz.
The project is to continue with the publication by B. Schott’ Sohne of Sonate
fur Bratsche Allein, Op. 31, No. 4; and Sonate fur Bratsche Allein (1937).
The publication of these two works is tentatively planned for 1992.

Copies of the first page of the original manuscript of the latter two
Sonaten are printed here, with the permission of the Paul-Hindemith-In-
stitute (Example 12 and Example 13).

According to David Neumeyer1 the Sonate, Op. 31, No. 4, was com¬
pleted on August 23, 1923, in Frankfurt; the Sonate 1937 was completed in
Chicago, April 20-21,1937. Both of these compositons were performed by
Samuel Rhodes in the three concerts described above; and these works have
been recorded by Kim Kashkashian with pianist Robert Levin as a part of a
set entitled Paul Hindemith: Complete Sonatas for Viola Alone and Viola
and Piano. These recordings are issued by ECM on two CDs and comprise
the following compositions (English titles):

Sonata for Viola and Piano, Op. 11, No. 4, composed in 1919;

Sonata for Solo Viola, Op. 11, No. 5, composed in 1919;

Sonata for Solo Viola, Op. 25, No. 1, composed in 1922;

Sonata for Viola and Piano, Op. 25, No. 4, composed in 1922;

Sonata for Solo Viola, Op. 31, No. 4, composed in 1924, unpublished;

Sonata for Solo Viola (1937), composed during Hindemith’s “American
Period,” unpublished;

Sonata for Viola and Piano (1939). 2

1David Neumeyer, The Music of Paul Hindemith (New Haven: Yale University Press, 1986), pp. 260,

270.

2For a discussion of Hindemith’s other compositions for viola see Maurice W. Riley, Op. cit., Chapter
XIV “The Viola in Europe in the 20th Century.”

158

The History of the Viola

Ex. 12. Page 1 of Manuscript of Unpublished Sonate fur Bratsche allein.
Op 31, IV (1924), by Paul Hindemith.

I f W at.

Paul Hindemith and The Paul-Hindemith-Institute

159

Ex. 13. Title Page and Page 1 of Manuscript of Unpublished Sonate fur Bratsche Solo, 1937.

160

The History of the Viola

Ex. 13. Continued.

XMa ( A*

CHAPTER XII

A BRIEF HISTORY OF THE
VIOLA IN ARGENTINA,
ARGENTINE VIOLISTS,

VIOLA MAKERS, AND
COMPOSERS OF VIOLA MUSIC

(SUPPLEMENT TO THE APPENDIX II OF THE 1980 EDITION)

Contributed by
Eduardo R. Dali
of

Buenos Aires, Argentina

Eduardo R. Dali, the contributor of this chapater, was born in Buenos Aires on March
27, 1919. His earliest musical training was at the St. Cecily Conservatory in Buenos Aires.
He also studied violin with his brother, Jose J. Dali, and with Professors Enrique Mariani
and Rene Beyer.

In a letter to the author dated 10 December, 1988, Dali stated that around 1939 his
preference changed from the violin to the viola ; and in 1941 he began private lessons with
the eminent violist Bruno Bandini (1889-1969), who taught at the National Conservatory
of Buenos Aires. He explained the reasons that prompted his transfer of interest to the
viola. “I preferred its sound to that of the violin. I had an intense desire to take part in
chamber and orchestral music as a viola player. I played occasionally in several orches¬
tras and played chamber music for many years with the brothers violinists Nicolas and
Ana Chumachenco, who are now celebrated soloists in Europe; and with Mario Benzecry,
now a noted orchestral director; and with the cellist Emile Aarie and the violinist Dr.
Hector L. Aibe, both deceased.

“Diverse circumstances prevented me from becoming a professional violist, but 1
continued to be fully interested in viola matters. For over fifty years 1 collected books,
reviews, letters, and other information about the viola, the violin, and collateral instru¬
ments. I was a friend of the late Lionel Tertis and I have been in correspondence with such
eminent violists as Robert Dolejsi, Ladislaw Czerny, etc. I collaborated with the late Mr.
Rene Vannes in his Dictionnaire Universel des Luthiers (1950). I was a regular contrib¬
utor from 1947-55 to the magazine Violins and Violinists, edited by the late Ernest N.
Doring.

“I also wrote in other fields, including a historical dictionary of occultists, Quien fur
y quien es en Ocultismo, Buenos Aires: Kier, 1970. This book of 602 pages will come out
in a new edition in 1989.

“For forty years I worked as Chief of the Office of Public Administration in Buenos
Aires, retiring in 1979.

“I am now writing a concise manual comprising the history of the viola: its origins,
construction, development, players, music, etc. However, my health and my wife’s health
has delayed the work.

161

162

The History of the Viola

“I have owned the following violas:

Rheinhold Geipel, Austria, 40.5 cm. (16 in.);

Emilio Petraglia, Buenos Aires, 1948, 42.5 cm. (16 3/4 in.); the first Tertis model
made in South America;

_ , 1953, 41.5 cm. (16 3/8 in.);

_ , 1956, 40.2 cm. (15 7/8 in.);

Stelio Maglia, Buenos Aires, 1963, 41.5 cm. (16 3/8 in.); copy of the viola made in
1945 by William Moennig, Jr. for William Primrose;

Horacio Pineiro, Buenos Aires, 1968, 40 cm. (15 3/4 in.); copy of the ex-W. J. Leyds
Giovanni B. Guadagnini, Turin, 1784.”

M.W.R.

Information about the viola in Argentina and other South American coun¬
tries up to the end of the 19th century is very meager. The Orquesta del
Teatro Colon was the most important in Argentina, having 4 violas, 10 first
violins, 6 second violins, and 3 cellos. In this time period the most promi-
nant violist was the Italian Jose Bonfiglioli (1851-1916) who was employed as
the Principal Violist of the Orquesta del Teatro Colon. Membership in this
group also included performance of chamber music.

In 1897 the Cuarteto de Buenos Aires was formed with Gerruccio
Cattelani and Hector Golvani, violins; Bonfiglioli, viola; and Louis Fornio,
cello. Bonfiglioli was also a member of the Cuarteto del Conservatorio
Argentina, which, on the 29th of July, 1904, participated with Camille Saint-
Saens in a performance of the composer s works. He was also a member
of the Cuarteto Cattelani, which in 1908 gave the first performance in
Argentina of Debussy’s Quartet, Op. 10. Bonfiglioni played a magnificent
viola made by Francesco Stradivari. The fingerboard (neck) of this instru¬
ment had been restored, that is, lengthened, by the luthier, Antonio Viudes,
and is now in the Museum of the Teatro Colon.

Bonfiglioli trained the first group of violists to come from the Conser¬
vatorio Santa Cecilia de Buenos Aires. He had previously trained violists at
the Conservatories of Palermo and of Milano. Another teacher was Francisco
Steck, a distinguished Belgian violist composer. He was appointed professor
of viola in 1911 at the Conservatorio Provincial de Cordoba in Argentina.
Eventually, in 1924, the Conservatorio de Buenos Aires designated Bon¬
figlioni its first Professor of Viola. This generated a movement that encour¬
aged a number of fine string players wisely to major in the viola.

Others who continued the work of Bonfiglioli in Argentina were Bruno
Bandini (1889-1969), orginally from Italy, but a naturalized Argentine; and
the Belgian Andres Vancoillie (d. 1974), who served as the main violist
during the middle of the 20th century, performing in various capacities of his
art. Vancoillie presented the first recitals dedicated exclusively to the viola
in Argentina. He was soloist in the principal orchestras of Buenos Aires,

The Viola in Argentina

163

performed chamber music dating from 1907 in the Cuarteto Santa Cecilia,
and also gave performances with Thibaud, Piazzini, and Cattelani. Further¬
more, he was violist in the Associacion Wagneriana Cuarteto.

In 1926 he was a founding member of La Sociedad del Cuarteto, along
with composer Juan J. Castro. This organization helped to develop many fine
violists during the next twenty-five years. It reached out internationally for
talent, and promoted some of the most artistic activities in Buenos Aires,
which were held at that time in the Teatro Lirico.

The Conservatorio National de Musica appointed Vancoillie their first
official Professor of Viola in 1924. The same title was given to him in 1933 by
the Conservatorio Municipal de Musica de Buenos Aires. Vancoillie’s young
artist-students constituted the foundation of the Argentine viola school, and
included the first significant group of orchestral violists. At the same time a
number of new orchestras were being formed, which, in turn, inspired a vast
repertory of works by Argentine composers.

Andres Vancoillie made a most genuine contribution to the viola in
Argentina and throughout South America. He was soloist in many principal
Argentine orchestras and was also an excellent chamber music player. He
continued the inspiring work of Bandini in the Conservatorio National de
Musica and in other institutions. But his most dedicated role was as a soloist.
He gave a large number of recitals covering all of the viola repertoire,
including modern works. In 1954 he recorded Paul Hindemith’s Der Schwa-
nendreher, conducted by the composer. Throughout his life Vancoillie gave
his support to raising artistic standards in South America.

A list of other distinguished violists from the 1930s includes Edgardo
Gambuzzi and Cayetano Molo, both soloists at the Orquesta del Teatro
Colon and also chamber music performers of distinction. Aquiles Romani, a
student of Bandini, was especially well known as a concert artist. Hilde
Heinitz de Weill is an outstanding teacher. Her students include Tomas
Tichauer. She has sponsored and has participated in many chamber music
groups. Manuel Aimirali (1904-1986) was a violist of note and also a com¬
poser. Francisco N. Berlingieri (d.1983) was principal violist of the Orquesta
del Teatro Colon. Mario Perini was an excellent performer and composer.
Lazaro Sternic was principal viola of symphony orchestras in Buenos Aires
and in Caracas.

At the present time a new nucleus of violists, especially formed by
the efforts of the violinist Ljerko Spiller and the violist Tomas Tichauer, has
given vigorous impulse to viola performance in Argentina. Among this
group of performers are ^Uan Kovacs, Sara Castellvi, Gustavo Massun, and
Marcella Magin.

Tomas Tichauer (b. 1943, in Buenos Aires) studied violin and viola with
Ljerko Spiller, at the same time completing the Collegicum Musicum in
Buenos Aires. He studied viola in the United States with Walter Trampler

164

The History of the Viola

and Ernst Wallfisch, and in England with Fredrich Riddle and Cecil
Aronowitz. He has performed frequently as soloist world-wide such works as
Harold in Italy and the Bartok Concerto. In recitals he performs works
written for him by the following South American composers:

Rodolfo Arizaga (b. 1926). Cantatas Humanas for Viola and Contralto,
Op. 9. Recorded by Tichauer and Noemi Souza-Gualiton.

Geraldo Gandini (b. 1936 in Buenos Aires) studied with Alberto Gin-
astera. He is one of the most gifted of the younger generation of
Argentine composers. Works dedicated to Tichauer are: Viola Con¬
certo (1979) premiered by Tichauer with Franz P. Decker conduct¬
ing; Onerion for Viola and Piano (1978), premiered in London,
1979, by Tichauer.

Pompeyo Camps (b. 1924), Argentine composer and music critic, Rap-
sodia for Viola Solo, Op. 73 (1977).

Salvador Ranieri (b. 1930 in Italy). Since 1947 lives in Argentina. Clar¬
inetist and composer: Cessate d’Unidere i Morti, Tryptic for Viola
and Piano. First performance by Marcella Magin.

Juan Carlos Zorzi (b. 1935 in Buenos Aires), Concerto for Viola and
Strings, performed and recorded 1979 with Camereta Bariloche.
Zorzi is one of the leading composers and conductors in Argentina.

Tomas Tichauer has played chamber music with Sandor Vegh, Yehudi
Menuhin, Alberto Lysy, Christine Walewska, Bruno Giuranna, Salvatore
Accardo, Jorg Demus, and Walter Trampler. He has appeared as soloist in
all of the principal cities of Europe, South America, and North America. He
is a founding member and soloist of the Camerata Bariloche, one of the most
prestigious groups in South America. In England his concerts have included
works for viola by Frank Bridge and the Duos of Mozart with violinist Peter
Thomas. In France he recorded the complete works for Viola by Darius
Milhaud in collaboration with the composer. In 1987 he gave the first per¬
formance in Argentina of Berlioz’ Harold in Italy for Viola and Piano, tran¬
scribed by Franz Liszt.

Tichauer wrote, “I play a Viola made by Vladimir Pilar- Dukelska, who
lives in Hradec Kralove, Czechoslovakia. Ernst Wallfisch also had one of his
Violas.”1

Marcella Magin (b. 1945 in Rosario, Argentina) studied violin with
Ljerko Spiller and Simla Bajour, and viola with Tomas Tichauer. She was the
winner of first prize in three prestigious contests: in 1971, the Concurso
Nacionel in Rosario; in 1973, the Concurso de la Associacion del Profesorado
Orquestal; and in 1974, the Concurso para Solistos in La Plata.

1For additional information see Tomas Tichauer, “The Viola in Argentina,” Journal of the American
Viola Society, Vol. 1, No. 1, 1985, pp. 8 — 13.

The Viola in Argentina

165

In 1975 she studied with Bruno Giuranna. Since 1976 she has been the
Principal Violist of the Buenos Aires Filarmonica. She has performed Harold
in Italy, Don Quixote, and Mozart s Symphonie Concertante at the Teatro
Colon. Magin is also the violist in the Quarteto Cuerdas de Buenos Aires.

Additional Compositions For Viola
by Argentine Composers

Costa. D., Poema for Viola and Piano.

Gandini, Gerardo. Honeyrom 1973 for Viola and Piano (his earliest
work for the viola); and Concerto for Viola and Orchestra (1980).
Gonzales Casellas, F., Nocturno for Viola and Orchestra (1984).

Grau, Eduardo, Sonata for Viola Solo (1983); and Concertino for Viola
and Orchestra (1987).

Koc, Marcelo, Concerto for Viola and Orchestra (1987).

Llorca, M., Capricho for Viola and Piano.

Lopez de la Rosa, H., Sonatina Ecumenicafor Viola and Piano, Op. 16.
Machado, A. J., Sonata for Viola and Piano.
de Olazabal, T., Pastorel for Viola and Piano.

Pages, Adrian, Passacaglia for Viola and Orchestra (1982).

Perini, M. (b.1911), Tercera Serie Argentine for Viola and Piano.
Piazzolla, A., Dos Piezas (Noche-Tanguango) for Viola and Piano.
Rissetty, D., Cancion de Cunafor Viola and Piano; and “Inri” for Viola
Solo.

Saenz, Pedro (b. 1915), Dos Elegias y Epilogo for Viola and Piano.
Santorsola, Guido (b.1904, of Italian origin, resided in Uruguay), Con¬
certo for Viola, Horn, and Orchestra; and Preludio and Fugue for
Two Violas.

Siccardi, Honorio, Sonata for Viola Solo.

Zorzi, Juan Carlos (b. 1935), Adagio for Viola and Orchestra.

Argentine Luthiers

Baldoni, Dante, (1868^19??) emigrated to Buenos Aires in 1911, and in
1913 made violins for Jan Kubelik and F. von Vecsey. He made fine
violas with Argentine wood

Capalbo, Giovanni, (1865-1945) was a leading luthier in the Italian
tradition. By 1908 he had acquired distinction in Buenos Aires for
the high quality of his work. His violas, usually 40 cm. (15 3/4 in.),
are excellent instruments.

Carzoglio, Luis B., (1874-1944) emigrated to Buenos Aires in 1898. He

166

The History of the Viola

made a quartet of instruments that were tested by the famous
London String Quartet, which prompted a letter of strong recom¬
mendation by William Primrose.

Gavatelli, Alcide, was a disciple of Gaetano Antoniazzi. He has lived in
Buenos Aires since 1918, and was famous as a restorer. He also
made fine violas.

Karinkanta, Daniel, (b. 1951) a disciple of his father, Arne, makes
excellent instruments, which are played by artists like Donald
Weilerstein, violinist of the Cleveland Quartet, and by Uto Ughi.
He also makes fine violas.

Maglia, Stelio, (b. 1925 in Cremona, Italy) has lived in Buenos Aires
since 1960. He succeeded E. Petraglia as curator of the famous La
Coleccion de Instramentos Isaac Fernandez Blanco. This collection
includes three famous violas: Francesco Stradivari (ex. Bonfigliolo),
Nicolo Amati, and Giuseppi Guarneri. He has constructed many
violas, including a copy of the instrument William Moennig made
for William Primrose in 1945 (41.5 cm.). According to Tomas
Tichauer, his instruments are well built, with a big sound, and are
played by many Argentine musicians.

Mandelli, Camilio, (1873-1949) was a disciple of Leandro Bisiach and
Romeo Antoniazzi. He resided in Buenos Aires after 1889, where
he made excellent violas, usually of 40.5 cm. (15 15/16 in.).

Militiello, Gandolfo, came to Buenos Aires c. 1900. He made violas of
small dimensions with good tone quality.

Mombelli, Giacomo, (1886- ) was a violist and luthier. He made three

violas and four viola d’amores.

Pineiro, Horacio, (b. 1939 in Buenos Aires) is one of the major Argen¬
tine luthiers. Since 1977 he lives in New York and works for
Jacques Frangais, where he has repaired or restored many famous
violas, e.g., the Paganini Stradivarius, and the G. B. Guadagnini
(ex-Villa). He makes excellent violas in the patterns of Andreas
Amati, Stradivarius, and G.B. Guadagnini.

Rovatti, Luigi, (1861-1931) was a disciple of Giuseppe and Enrico
Rocca. He emigrated to Buenos Aires in 1885. He made almost a
thousand instruments, including a hundred cellos of definite qual¬
ity. His violas are 41.5 cm. (16 5/16 in.) and possess excellent
sonority.

Siccardi, Victor L., was a violist, composer, and luthier, a disciple of E.
Petraglia. He made many violas, usually of large dimensions.

Viret, Henri, (b. 1903- ) a luthier in Buenos Aires, was a maker of fine
instruments. He had also a famous collection of antique string
instruments.

CHAPTER XIII

MAURICE V1EUX, THE FATHER OF
THE MODERN FRENCH VIOLA
SCHOOL AND LES AMIS DE VALTO

Albert Azancot, of Paris, France;

Robert Howes, of Cincinnati, Ohio;
and

Maurice W. Riley

The joint authorship of this Chapter, which supersedes the material on this subject in
Volume I of THE HISTORY OF THE VIOLA, is the result of a collaboration brought
about by the frequent exchange of letters over a four year period of time, and a friendship
that had its impetus from personal visits and frequent conversations that took place
during and following the Second Maurice Vieux International Concours de VAlto held in
Lille, France, in 1986. The author of this book was a member of the Jury at the Concours.
Albert Azancot, a member of Les Amis de l’Alto, was one of the dedicated workers who
helped to make the Concours such a resounding success.

ALBERT AZANCOT, born 1914 in Tangier, Morocco, studied the violin from age 7;
and then in 1934 transferred to the Viola, studying with Albert Coriat in VEcole Jesus
Etcheverry Musique. Thereafter his interest and professional life turned to the business
of selling insurance, which limited his musical activities to playing in orchestras and in
chamber music groups as an amateur. After his retirement from business, he has returned
to his first love, the Viola, and has given much time and help to l’Associacion Les Amis de
l’Alto. In this organization he is the Adjutant Secretary, and assistant to Paul Hadjaje,
and a collaborator in the preparation and publication of the Bulletin de Les Amis de
l’Alto. He also assists in many ways with the planning and implementation of the Maurice
Vieux International Concours de l’Alto.

Up-to-date biographies of many of the French violists included in this book were
furnished by Azancot. He furnished the photograph and much of the material related to
Maurice Vieux. He plans to translate The History of the Viola into French as soon as
Volume II is published.

Information regarding the American violist Valter Poole’s study with Vieux and the
list of compositions dedicated to Vieux was furnished by Robert Howes, violist in the
Cincinnati, Ohio, Symphony Orchestra. Howes has done extensive research and is pub¬
lishing an annotated bibliography about his investigations entitled. Original Works for
One Viola from the Romantic Period, c. 1825-1905.

M.W.R.

^^Xaurice Vieux (1884-1957), the founder of the Modern French Viola
School, was born in Valenciennes, Northern France. He was the son of a

167

168

The History of the Viola

Plate 71. Maurice Vieux (1884-1957). Photograph furnished by Albert Azancot, of Paris, France.

Maurice Vieux

169

railroad employee, who was also a violinist and a poet. Vieux demonstrated
a superior talent for music at a very early age, and was eventually sent to
study with Theophile Laforge at the Paris Conservatoire, where he won first
prize in viola in 1902. He then joined the Paris Opera Orchestra and became
Principal Violist in 1908. Meanwhile, he was also teaching at the Conserva¬
toire, and when Laforge died in 1918, Vieux succeeded him as head of the
viola department.

As head of the viola department at the Conservatoire, Vieux exerted a
continuing influence for a high standard of viola performance. His success as
a teacher and his demand for excellence resulted in Vieux’ students winning
103 first prizes in viola at the Conservatoire. He honored twenty who stud¬
ied with him before 1928, when he published Vingt Etudes pour Alto (A.
Leduc), with each Etude dedicated to one of his former students: Jean Gay,
Etienne Ginot, Andre Jouvensal, Jacques Desestre, Denise Thoret, Pierre
Pasquier, Robert Boulay, Frangois Broos, Louis Artiers, Crunelle-Martinet,
Louis Chacaton, Alice Goninet, Jean Lefebre, Albert Bernard, Jean Cau-
hape, Rene Cezard, Suzanne Robin, Marcel Quattrochi, Emile Amette, and
Alice Merkel.

Vieux required his students to study and master the viola parts in
orchestral literature in their preparation for a professional career. In 1928 he
published Dix Etudes pour Alto sur des traits d Orchestre (A. Leduc), a
work which contained Vieux’ bowings and fingerings for excerpts of difficult
passages from compositions by Beethoven, Mozart, Berlioz, Mendelssohn,
von Weber, Rossini, Wagner, and Smetana. This is an invaluable work for
both the viola teacher and the viola student.

Vieux also composed a set of six works for viola and piano, entitled,
Etudes de Concert (Max Eschig, Paris, 1932). Five of the six Etudes were
dedicated to former students at the Conservatoire:

1st Etude to Mademoiselle Madeline Martinet, 1st Prize 1930;

3rd Etude to Gaston Desplam, 1st Prize 1927, Member Concerts Col-
onne;

4th Etude to Raymond Belinkoff, 1st Prize 1927;

5th Etude to Mademoiselle Giselle Deforge, 1st Prize 1929, Principal
Viola Concerts Poulet;

6th Etude to Marcel Laffont, 1st Prize 1930.

The 2nd Etude was dedicated “a mon eleve Valter Poole de la Sym-
phonie Orchestre de Detroit ” (see Ex. 14). Pool later became Associate
Conductor of the Detroit Symphony. He studied with Vieux during sum¬
mers in the 1920’s. Robert Howes, violist in the Cincinnati Symphony,
studied with Poole in 1970-71. Poole was very proud of his association with

170

The History of the Viola

Maurice Vieux, and described this experience to Robert Howes (quoted
from Howes’ letter to the author dated, March 3, 1987):

“Poole would remain in Paris during the summer holidays to continue his studies
with Vieux. Poole had to take a train into the country and then walk to Vieux’s country
home. Vieux liked to go fishing early in the morning, and Poole’s lesson would start when
Vieux returned. Poole would play as best he could what he had prepared for the Master,
but after a while Vieux stopped Poole with a kindly smile. ‘Here, let me show you how
that goes . . .’, and he got out his viola. Without the benefit of warming up and still being
cold from fishing,’ he proceeded to play the same passage with the utmost facility and
musical charm, making Poole feel like a complete idiot. As he trudged back to the train
station, Poole would grit his teeth and say, ‘I’m going to show that old man!’ Evidently,
Poole did just that, for Vieux wrote Poole a special cadenza for the B minor Handel
Concerto, an honor bestowed on only his best students. . . Evidently, Vieux was a great
and inspiring teacher and performer, for Poole continued to speak frequently and rever¬
ently of him almost fifty years later. ”

Among the many outstanding students who studied with Vieux after
1928 were Marie Therese Chailley, Serge Collot, M. Foucheux-Lemoine,
Paul Hadjaje, Colette Lequien-Potet, and Leon Pascal.

In a brief article written in 1928, Vieux emphasized the need for violists
of the twentieth century to develop a level of technique equal to that re¬
quired for contemporary violinists.1

Vieux performed chamber music with such great artists as Eugene
Ysaye, Pablo Casals, and Jacques Thibault. However, he refused numerous
opportunities to go on tour, preferring to work with his students.

Vieux was a frequent soloist in the Societe des Concerts du Conserva¬
toire, and took part in the most important chamber music performances. As
a soloist he introduced viola compositions of contemporary French compos¬
ers, and all of the viola solo literature composed and dedicated to him by the
Belgian composer, Joseph Jongen (1873-1953).

Works dedicated to Maurice Vieux for the Viola and orchestra are:

Joseph Jongen, Suite pour Orchestre et Alto Principal, Op. 48, Henry
Lemoine, 1928.

Max Bruch, Romance in F, Op. 86, Schott, 1911; Eschig, 1974.

Works for Viola and piano dedicated to Vieux are:

Armand Bournonville, Appassionata in c minor, Costa, 1929.

Eugene Cools, Andante Serio, Op. 96, Eschig, 1929.

Phillipe Gaubert, Ballade, Eschig, 1938.

1Maurice Vieux, “Consideration sur la technique de l’Alto,” Courrier Musical et Theatrical, XXX, No.
7 (1928), p. 216.

Maurice Vieux

171

Ex. 14. Title Page and excerpt from Six Etudes de Concert pour Alto et Piano, by Maurice
Vieux, “Reproduced with the Permission of the Editions Max Eschig, Paris, proprietaires de
loeuvre pour le monde entier,” 1932.

Six Etudes de Concert

POUR

ALTO ET PIANO

PAR

Maurice VIEUX

Alto solo au Theatre National de 1’OpAra
Professeur au Conservatoire

r ETUDE en

2“ — en

3”* — en

4“ — en

5“ — en

6W — en

ut majeur . .
si mineur . .
sol majeur . .
fa mineur . .
ut dibze mineur
fa dibze mineur

net frs. 10.00
10.00
10.00
10.00
12.50
10.00

IScnsMaxF

4aRwd»Rnre fmRlgl et llRi

SCHIG

l Rut dt Madrid

MAYENCE B. Schott’s Sohne

LONDRES Schott & Co.. Ltd.

NEW-YORK Associated Music Publishers Inc

172

The History of the Viola

Ex. 14. Continued.

a mon el'eve Valter POO LB. 1

dr la Symphonic Orchestra de Detroit.

2m.e ETUDE t)E CONCEPT

pour Alto et Piano

MAURICE VIEUX

rit.

|!‘ Lf Lffljr

Jfljt - —

rit.

Copyrig-ht 1932 by Edition* Max Eschif,48, rue d* Roma, Part*

EDITIONS MAX ESCHIG, 48, rue de Rome, Paris

TOUS DROITS D'EYECU TION PUBLUJUE OE REPRODUCTION
ET O'ARRAN DEMENTS RESERVES POUR TOUS PATS
Y COMPRIS l* SUEDE LA NONVEOE £T LE OANEMARY

M.E. 3308

Maurice Vieux

173

Plate 72. Serge Collot, Co-President of Les Amis de l’Alto, Professor of Viola at Conser¬
vatoire de National, Paris, France.

Gabriel Grovlez, Romanze, Scherzo, et Finale, Heugel, 1932.

Reynald Hahn, Siloloque et Forlane, Eschig, 1937.

Joseph Jongen, Allegro Appassionato, Op. 79, Leduc, 1925; and
Introduction et Danse, Op. 102, Eschig, 1935.

Rene Jullien, Lied, Op. 36, Essig, 1938.

Jules Magellan, Nocturne et Rondeau, Costallat, 1935.

Paul Rougnon, Fantasie Caprice, LeDuc, 1922.

Georges Sporck, Allegro de Concert, Eschig, 1933.

Les Amis de l’Alto

Les Amis de l’Alto was founded in 1979 by a group of viola performers
and viola professors from the principal French Conservatoires and Schools of
Music, through the initiative of Paul Hadjaje. The founding members were:

Colette Lequin-Potet and Serge Collot, Professors at the Conservatoire National
Superieur de Musique de Paris,

Paul Hadjaje, Professor at Conservatoire Normal Regionale de Versailles,

Marc Carles, Director of L’Ecole Municipale de Musique de Castres,

Louis Daverede, Professor at Conservatoire Nationale de Musique de Tarbes.

174

The History of the Viola

Plate 73. Paul Hadjaje, Albert Azancot, and Serge Collot at an Exhibit of Les Amis de
l’Alto, Lille, France, 1986.

The objectives of the organization are:

(1) To bind together the bonds of friendship between performers, teach¬
ers, and those interested in the Viola as an instrument, including composers,
arrangers, luthiers, students, and amateurs.

(2) To organize pedagogical seminars (colloques), conferences, publica¬
tion of journals, and national and international competitions.

(3) To influence and commission composers to write works for the viola.
To encourage publishers to publish them.

(4) To encourage luthiers and archetiers to make violas and viola bows;
and to develop new models suitable for youngsters, as well as for adults.

(5) To recruit young students and their parents, as well as older students
and amateurs.

Les Amis de l’Alto now, in 1990, has over five hundred members
throughout France. The organization has promoted seven Colloques (Sem¬
inars), including one in Russia in January 2-9, 1984, with leading artist-
teachers in that country. It has organized and administered three Interna¬
tional Maurice Vieux Competitions for Violists (1983, 1986, 1989), and has
sponsored five contests and exhibits for violas and bows from the most
outstanding French makers. Twice each year it publishes an illustrated jour¬
nal entitled, Les Amis de YAlto, which contains articles about violists, con-

Maurice Vieux

175

certs, new music for viola, musicology, pedagogy, and news about contests
for students in the French conservatories

Les Amis de PAlto is now a chapter of the Internationale Viola Gesell-
schaft, and has adopted the name Association International des Altistes et
Amis de PAlto.

In 1988 Mme. Colette Lequien-Potet retired from her position as Co-
President with Professor Serge Collot, and has been replaced by Professor
Paul Hadjaje. In 1989 Professor Collot, in recognition of a lifetime dedicated
to the viola, was named by the Director of Music of the Ministry of Culture
of the French government to the grade of Chevalier in the Legion of Honor.

Le Concours International de PAlto Maurice Vieux, Paris

To honor their great Vieux, Les Amis de PAlto sponsored Le ler Con¬
cours Maurice Vieux, March 15-20, 1983, in Paris. The winners were:

1st Prize — Tabea Zimmermann, West Germany
2nd Prize — Marius Nichiteanu, Romania
3rd Prize — Pascal Cocherli, France
4th Prize — Pascal Robault, France.

Le 2eme Concours, Lille

The resultant success of the first Maurice Vieux Concours prompted
Les Amis de PAlto to promote the 2eme Concours International d’Alto
Maurice Vieux, September 2-7, 1986, in Lille, France. The Viola Compe¬
tition was held in the beautiful Lille Opera House. Sixteen contestants from
Austria, Finland, France, Japan, Norway, Romania, Venezuela, and West
Germany entered the competition.

1st Prize — Lars Anders Tomter, Norway,

2nd Prize — Teodor Coman, Romania, and Francois Schmitt, France,

3rd Prize — Sabine Toutain, France.

The latter also won the special prize sponsored by the Conservatoire Na¬
tional de Lille for the best performance of Etude No. 18 from Vieux’ Vingt
Etudes pour Alto.

On the first day of the Concours, more than thirty violas and forty viola
bows were placed on exhibit at the Hotel Scrive (City Hall). This section of
the Maurice Vieux International Concours was sponsored by the Association
des Luthiers et Archetiers pour le Development de la Facture Instrumental.
On the fourth day, all of the violas were played by Serge Collot and Claude
Ducrocq, Professors of Viola in the Conservatories of Paris and Strasbourg,
respectively, before a jury that judged the instruments for tone quality. The

176

The History of the Viola

jury was composed of Anne-Genevieve Auvray, a string teacher in the ele¬
mentary schools of Tourcoing; Marie-Therese Chailley, Professor of Viola at
the Paris Conservatoire; Philippe Lefevre, Director of the Lille Conserva¬
toire; Michele Moulin, Professor of Viola at the Lille Conservatoire; Maurice
W. Riley, from the United States; and Pierre Host, of the French Ministry
of Culture, who served as chairman of the jury.

The seven instruments receiving the highest scores from the judges
were made by (listed here alphabetically): Frederich Becker of Montpellier;
Bruno Bour’his of Nantes; Frederick Chaudiere of Montpellier; Regis
Hautin of Lille; Christoph Landon, who has shops in Vulaines/Seine, France
and in New York City; Jean Jacques Pages of Mirecourt; and Hugnes
Paumier of Paris. One of these violas would be chosen later by the winner of
the performance competition to keep as one of his awards.

The performance competition consisted of three rounds. In the first
round the violists were required to play the 1st, 3rd, and 4th movements of
the Viola Concerto, No. 1, by Darius Milhaud,and the viola version of J. S.
Bach’s Fifth Suite for Violoncello (BWV 1011).

Eleven contestants were selected by the judges to compete in the sec¬
ond round. They were required to perform Episode No. 6 for unaccompa¬
nied viola, by Betsy Jolas; one of the two Brahms Sonatas for Viola and
Piano, Op. 120; and a selection of the contestant’s choice of five- to ten-
minutes duration.

Six of the preceding contestants were selected by the jury for the final
round. Each violist performed three required compositions: Lachrymae,
Reflections on a Song by Dowland, Op. 48, by Benjamin Britten; Suite of
Dances by Pierre Max Dubois; and the 18th Etude from Vieux’ Vingt Etudes
pour Alto.

The accompaniment for works of the final round was provided by the
Orchestre de Chambre de Lille, conducted by Patrick Fournillier, with
particular sensitivity, and adjusting admirably to the style of each performer.

Members of the jury for the 2eme Maurice Vieux International Concours
were Betsy Jolas, French composer and chairman of the Jury; and Conser¬
vatoire Professors and performers of viola: Emile Cantor, Diisseldorf;
Claude Ducrocq, Strasbourg; Paul Hadjaje, Versailles; Georges Longree,
Brussels; Erwin Schiflfer, Amsterdam and Brussels; and Dr. Maurice W.
Riley, U.S.A.

The Concours was sponsored by the City of Lille and the Association
International des Altistes et Amis de l Alto. Serge Collot, Professor of Viola
at the Paris Conservatoire, and co-president of this organization, was in
charge of the programming and the staging of the Consours. Paul Hadjaje,
secretary of the organization, was responsible for the selection of the jury
and the administration of the Concours. Assisting Professors Collot and
Hadjaje was Albert Azancot, a dedicated amateur violist, whose help in

Maurice Vieux

177

Plate 74. Jury of Maurice Vieux Performance Concours 1986 (left to right): Erwin Schniffer,
Georges Longree, Betsy Jolas, Paul Hadjaje, Claude Ducrocq, Maurice Riley, and Emile
Cantor.

solving problems and attention to details contributed greatly to making the
Concours run smoothly. Local arrangements for the host City of Lille and its
Mayor were administered by Philippe Lefebvre, Director of the Conserva¬
toire National de Lille, and by Pierre Host, Secretaire-General of the Min¬
istry of Culture for the Region Nord/Pas-de-Calais, France.

Lars Anders Tomter, the winner of first prize in the performance com¬
petition, enjoyed the privilege of choosing for his own any viola from the
Viola-makers Concours. He selected the instrument made by Christophe
Landon. Winners of second and third prizes were awarded bows of their
choice. Tomter was also awarded concert performances with POrchestre
National de Lille, conducted by Jean-Claude Casadesus; a recital perfor¬
mance at the Conservatoire de Lille; a recital in Paris; and a performance
with POrchestre de Chambre de Lille, conducted by Patrick Fournillier.

The violists who won prizes demonstrated a very high standard of art¬
istry and contributed to making the 2eme Concours International d’Alto
Maurice Vieux a worthy tribute to the great French violist and viola teacher
for whom it was named, as well as to present day French violists and young
violists world-wide.

178

The History of the Viola

Plate 75. Winners of Maurice Vieux Performance Concours, 1986 (left to right): Sabine
Toutain, 3rd prize; Frangois Schmitt and Teodor Coman, tied for 2nd prize; Lars Anders
Tomter, 1st prize.

In addition to the Concours for violists and the Concours for luthiers,
two events were of particular interest and importance. One was a superb
recital presented by Bruno Pasquier, violist, and Brigitte Vendome, pianist.
Their featured composition was Brahm s Sonata for Viola and Piano in F
Minor, Op. 120, No. 1. Pasquier, the son of Pierre Pasquier, one of Maurice
Vieux’ gifted students, is a fine artist in his own right. He is presently the
Principal Violist in the French Orchestre National. He owns and plays an
authentic Maggini viola

The second event of note was an exhibit in a Lille music store of violas
for small children made by Philippe Raynaud of Montrouge,in the three-
quarter, half, and quarter sizes. The tone quality and the workmanship of
these reasonably priced small violas far surpassed the factory-made Suzuki
instruments generally used in America. Since good small violas are always in
demand, American luthiers might consider making instruments of compa¬
rable quality as a means of supplementing their income.

Maurice Vieux

179

Plate 76. Marie-Therese Chailley, Professor of Viola, Conservatoire National, Paris, France;
and Bruno Pasquier, Recital Soloist, Lille, France, 1986.

Le 3eme Concours International de l’Alto Maurice Vieux, Orleans,
March 7—12, 1989
as reported by Albert Azancot

The young violists competing in the Concours performed for a jury
composed of:

Claude-Henry Joubert, France, President
Yuri Bashmet, U.S.S.R.

Marc Carles, France
Thomas A. Guilissen, Belgium
Ulrich Koch, West Germany
Bruno Pasquier, France

Tabea Zimmermann, West Germany (She won First Prize in the
Maurice Vieux Concours in 1983.)

Sixty-two contestants registered for the competition, including 9 from
France; 9, West Germany; 7, U.S.A.; 2, China; 2, Belgium; 3, Poland;
6, Japan; 4, Holland; 2, Yugoslavia; 2, Switzerland; 2 Canada; 2, Italy; and
one each from East Germany, England, Korea, U.S.S.R., Finland, Israel,

180

The History of the Viola

Norway, Roumania, Australia, Portugal, Hungary, and South Africa. Twenty
of these violists were unable to attend for various reasons.

The first level of elimination required performance of both the
Hindemith Sonata for Viola Alone, Op. 25, No. 1 , and the Hoffmeister
Etude, No. 1. Sixteen contestants remained in competition. Of these 5 were
from West Germany; 3, Japan; 1, Korea; 2, France; 1, Belgium; 1, U.S.S.R.;
1, Israel; and 2, Canada (which included Eric Soucy, who had won third
prize in the 1988 Tertis Competition).

The second stage required performance of the Enesco Concertstuck,
one of two works chosen by the contestant, and Etude #15 from the 20
Etudes by Maurice Vieux.

Five contestants were admitted to the final round, in which the re¬
quired pieces were:

Karl Stamitz’ Concerto in D Major, and

Claude-Henri Joubert’s Concerto, which was written for this competi¬
tion.

The finalists were accompanied by YOrchestre de la Societe des Concerts
Conservatoire d’Orleans, directed by its leader, Pierre-Alain Biget.

The final awards were:

1st Prize — Andre Gridtchouk, U.S.S.R, received 5,000 francs donated
by the Regional Bank of the West, and a viola of his choice, offered
by the Ministry of Culture Department of Music (which he did not
accept).

2nd Prize — Tomoko Ariu, Japan, received 2,500 francs, donated by the
S.P.E.D.I.D.A.M., and a bow, offered by the Directory of Music

3rd Prize — Pierre Lenert, France, received 1,500 francs, donated by
Master-Luthier Jean Bauer; a bow, the special prize of Les Amis de
l’Alto; and a prize equal to a bow given by Mr. Husson.

Other prizes were awarded to:

Gilad Kami, Israel, received 5,000 francs donated by S.P.E.D.I.D.
A.M. for the best interpretation of the Joubert Concerto.

Diederik Suys, Belgium, received the special prize of 2,500 francs given
by Les Amis de l’Alto.

THE CONTEST FOR LUTHIERS (TONE QUALITY)

As in the other Concours, there was a competition for luthiers. Twenty-
one luthiers entered their instruments. Seven bow-makers exhibited their
bows; however, there was no contest for bows.

Maurice Vieux

181

The Jury was composed of M. Claude-Henri Joubert, President, Mme.
Janine Marie-Louise Beaujouan, M. Rene Quenoil, M. Christos Michalaka-
kos, M. Antony Marschutz, M. Miteran, and Mme. Dupuy

The Jury selected seven violas, which were made by (alphabetical or¬
der): Jacques Bauer (Angers), Bruno Bour’his (Nantes), Frederic-Hugues
Chaudiere (Montpellier), Regis Hautin (Lille), Hugues Paumier (Paris),
Patrick Robin (Angers), and Christian Sergent (Tours).

The Third Maurice Vieux International Competition for Viola was a
tremendous success. The technical performance and musicianship of the
violists displayed artistry of a very high level. The concert hall was filled to
capacity for each performance, which was indicative of the interest in and
support of Les Amis de l’Alto by the citizens of the city of Orleans.

Les Association International des Altistes et Amis de YAlto has done
much to promote high standards of artistry in viola performance in France,
and the Maurice Vieux International Concours have exerted a similar influ¬
ence worldwide. The French gave the Internationale Viola Gesellschaft
more international influence, when the Les Amis de YAlto was host to the
XVIII International Viola Congress in Lille, May 30-June 4, 1990.

CHAPTER XIV

UNPUBLISHED AND OUT-OF-PRINT
ITALIAN VIOLA MUSIC OF
GIUSEPPE SARTI (1729-1802) AND
FERDINANDO GIORGETTI
(1796-1867)

Contributed by Franco Sciannameo
of Ann Arbor, Michigan

Franco Sciannameo, the author of this Chapter, was born in 1942 in Maglie (Lecce),
Italy. His early music training was at the St. Cecilia Conservatory in Rome, where he
graduated, having studied with Lilia d’Albore and Arrigo Pelliccia. He subsequently
played violin and viola with the following groups: I Solisti di Roma; the Orchestra da
Camera “Accademia Musicale Napoletana ;” the Quartetto di Nuova Musica, the Orches¬
tra dell Accademia Nazionalle “Santa Cecilia and the RCA Symphony Orchestra of
Rome. These groups performed and recorded extensively throughout Europe, the United
States, the Soviet Union, and South Africa.

Sciannameo came to the United States in 1968 to join the Hartford (Connecticut)
Symphony and to teach violin, viola, and chamber music in the Hartford Conservatory.
At the same time (1968-78) he did graduate work in musicology at the University of
Hartford. In 1978 he joined the Texas Little Symphony of Fort Worth. In 1981 he became
a member of the Ohio Chamber Orchestra in Cleveland.

As an editor, Sciannameo has been active with many publications of string pedagogy
and repertoire. In 1977 he became Director and Editor for Rarities for Strings Publica¬
tions of Bristol, Connecticut. In 1983 he was appointed Editorial Coordinator for the
Continental Publishing Company of Ann Arbor, Michigan. In 1986 he created L.F.S
Publications, Inc., which publishes The Violexchange, a quarterly magazine devoted to
string players and string music; and he has published also The Ultimate Violin Audition
Book by William de Pasquale of the Philadelphia Orchestra. He is now on the faculty of
Carnegie Mellon Univeristy in Pittsburgh, Pennsylvania.

Throughout his career as performer, teacher, and editor of publications, Scian¬
nameo has remained a research scholar. He gave a lecture “Unpublished Italian Viola
Music” at The XVI International Viola Congress at Kassel, West Germany in 1988, which
furnishes the basis of this chapter

In The Violexchange, Vol. 3, No. 1 (1988), is an article by Sciannameo about Fer-
dinando Giorgetti (1796-1867) which includes one of his compositions: Gran Solo per
L’ Alto-Viola in Scena drammatica with piano accompaniment. This is one of the works
discussed in the following Chapter.

M.W.R.

182

Italian Viola Music

183

j^Lbout 25 years ago, when the International Viola Society was being con¬
ceived, the field of Italian viola music was mostly a virgin territory, full of
surprises. The author of this Chapter, along with Luigi Alberto Bianchi,
while still students at the Santa Cecilia Conservatory in Rome, began to
rediscover the music of Alessandro Rolla, his school, and many viola com¬
positions of that period. It was a significant moment when, after having
edited and played Rolla’s viola Concerto in E Flat, they presented Professor
Renzo Sabatini with a manuscript copy of the score. He was surprised in¬
deed at the quality of Rolla s music and gave much needed words of encour¬
agement. Subsequently, Professor Sabatini sent a photocopy of this work to
Professor Borissowsky in Moscow. Nowadays, it is certainly a fact that
searching for valid unpublished viola works of the 19th Century is a difficult
task. Nevertheless, while browsing through notes collected over the years,
the author found information on two virtually unknown works by Giuseppe
Sarti and Ferdinando Giorgetti.

Giuseppe Sarti was born in Faenza, Italy in 1729, and died in Berlin in
1802. He was one of the many nomadic Italian musicians who were active
wherever there was music. Sard’s career as an opera composer brought him
to Venice, Copenhagen, Milan, and finally to St. Petersburg, where he was
court composer for Catherine II until 1787. Then, in 1793, he became
director of the new conservatory in St. Petersburg. Sarti died while on his
way back to Italy. During his lifetime he made a thorough study of acoustics
and laws of pitch; he introduced 436 vibrations as the normal A and invented
a device for counting vibrations of over- tones. For this he was made an
honorary member of the St. Petersburg Academy of Science. Sarti wrote
charming opera music, but its popularity proved ephemeral. Interestingly,
however, Mozart wrote variations on an air from Sard’s opera, 1 Due Liti-
ganti.

This is the story of Giuseppe Sarti as stated in any music dictionary. But
how can Sarti be of interest to violists? There might be a reason. In 1791,
Giovanni Battista Viotti organized a majestic performance in Paris of a cel¬
ebrated work by Giuseppe Sarti. The composition, Miserere a Quattro Voci,
Violoncello e Tre Viole was performed by two famous vocal soloists and a
chorus of fifty voices sustained by 26 violas, 14 cellos, and 8 double-basses.

The work is comprised of 12 sections which include solo arias, duets,
and choral fugues, the usual structure of a Miserere. One aria is scored for
soprano and solo viola, with accompaniment of three violas, cello, and bass.
The aria is a bravura piece reminiscent of Mozart’s “Alleluia” from Exultate
Jubilate. The solo viola is written mostly in the upper register in thirds with
the voice. At the Paris performance, Guititta Baletti delivered the aria with
the famous Pierre Rode as solo violist. One wonders who the other 25 violists
were!

184

The History of the Viola

(It is interesting to note that Napoleon at this time seems to have been
partial to the sound of the viola in preferance to the high sounds of the
violin.)

The manuscript score is preserved at the Library of the Santa Cecilia
Conservatory in Rome. It is clearly written and could be performed with
little editing. Perhaps one of our future viola congresses could be the occa¬
sion for staging a revival of this unusual composition. All those interested can
request a microfilm copy from the conservatory library in Rome.

Ferdinando Giorgetti’s work is much different in scope from Sard’s .
Giorgetti’s pedagogical treatise, published twice, first in 1854 and then in
1923, remains little known, although it is mentioned several times in various
books on the viola. In fact, Giorgetti truly became a 19th Century apostle of
the viola.

The title of Giorgetti’s work is Metodo per Esercitarsi a Ben Suonare
l alto Viola, which may be freely translated as Method for Learning How to
Play the Viola Well. Giorgetti’s Method, as one might judge from the title,
is not just an instruction manual. It is a plea, and invitation to talented
violinists, with stress on the word, talented, to take up the viola. Giorgetti, s
work provides a fairly accurate description of what was expected from a
violist of the period, technically, and most important, psychologically. He
dedicated pages to the philosophy of the instrument while interpolating a
variety of interesting notions.

Before getting to the core of this matter, however, an outline of the
musical, social, and political situation in Giorgetti’s Italy (1840-1860) should
be noted. This digression will aid to a more complete understanding of his
method’s purpose.

Between 1840-1860, Italy was still politically dominated by foreign
powers which constantly shifted control over cities and people, sometimes
for the better, often for the worse. Italians were united only by ideologies.
It took much bloodshed and many years of suffering to finally emerge with
a politically unified country. Aside from their patriotic goals, Italians were
united by their love for the opera house. Certainly opera librettos were
censored, names of protagonists and places of action were changed by ad hoc
police regulations. However, the Italians were tolerant because they could
secretly feel the spirit of the Risorgimento in the operas of Bellini, Donizetti,
Rossini, and, above all, Giuseppe Verdi. Thus, Italy itself became a gigantic
stage, synonymous with opera.

With such a picture in mind, it seems only natural that musical life in
Italy concentrated around the theater. The great music conservatories pros¬
pered under that umbrella. For instance, in Milan’s conservatory, active
since 1808, Alessandro Rolla, then conductor and leader of the La Scala
Theater Orchestra, was unanimously appointed professor of violin and viola.

Italian Viola Music

185

Rolla’s impact was of paramount importance for the technical and expressive
development of the viola.

In the Venice and Naples conservatories the situation was a little dif¬
ferent. They were both much more involved in training musicians who could
quickly produce many operas to accomodate the demand of countless visi¬
tors; tourism was then, as now, a primary source of revenue. Very little time
was left for composing instrumental music, certainly none for the viola.

In a country as politically divided as Italy, passports were needed to
travel from one region to another, from one theater to another. Jealousy and
paranoia were rampant among rulers whose heads were constantly at risk of
rolling off their necks. Musicians, although generally welcomed, were re¬
garded as suspicious intruders or troublemakers — and sometimes perhaps
they were. Needless to say, cultural exchanges were basically nonexistant.

What was happening in Milan with Alessandro Rolla, Eugenio
Cavallini, and their viola school was barely echoed in other parts of the
country, so much so that even in cosmopolitan Florence there is no evident
proof that Ferdinando Giorgetti was aware of the Milanese viola school. One
reason for his lack of awareness might have been Giorgetti’s sedentary ac¬
tivity, or simply, perhaps, a general skepticism for things happening in
Lombardy, a “foreign” land.

Besides all this, it is important to look more closely at Ferdinando
Giorgetti himself, and how he came to write his viola method. Born in
Florence in 1796, Georgetti lived there until his death in 1867. A pupil of
Gian Francesco Giuliani (who studied with Pietro Nardini, the master
violinist so highly praised by Leopold Mozart), Giorgetti became the heir of
the refined Nardini school of string playing which culminated with Luigi
Boccherini. It should be noted that Pietro Nardini, Filippo Manfredi,
Giovanni Cambini, and Luigi Boccherini formed the first known professional
string quartet in the history of this instrumental combination.

Giorgetti’s performing career was cut short by a nervous ailment which
relegated him to a wheelchair. Unable to travel, he took up composition,
teaching, and promoting and performing chamber music. As a composer he
gained recognition with his seven string quartets and three string sextets.
These chamber works alone should have assured Giorgetti a better place in
music history. The quartets and sextets were dedicated by the composer to
his personal friends and admirers such as Spohr, Fetis, Rossini, and Franz
Liszt, who often visited Florence and performed chamber music with him.

Florence in Giorgetti’s time was an unusually active, cosmopolitan cul¬
tural center. Particularly important were the activities promoted by the
various “Accademie” centers of study bearing allegorical names taken after
their meeting places. The most important ones were the Accademia Colom-
baria, Accademia dei Georgofili, Accademia della Crusca, and Accademia di

186

The History of the Viola

Belle Arti. Mostly dedicated to the study of language and other literary
matters, the Accademia reached high standards. The Accademia di Belle Arti
(Academy of Fine Arts) was also concerned with musical studies. In fact, in
1849, it sponsored the creation of the Instituto Musicale, which in turn
became the present Conservatory of Music.

Musical life in Florence was amplly chronicled in the city’s newspapers;
however, serious musical matters were discussed in two specialized period¬
icals, LArmonia, founded in 1856, and II Boccherini, still published as late
as 1882. LArmonia was a rather progressive journal designed to harmonize
(hence its name) old and new musical philosophies without getting involved
in verbose debates and endless polemics. Especially important was L Ar¬
monia s, endorsement of Richard Wagner’s musical and literary works.
Wagner’s Oper und Drama was, in fact, widely discussed and analyzed with
the help of written commentaries provided by the author himself.

The editor of L Armonia, Abramo Basevi (1818-1885) was a medical
doctor and a musicologist of singular talent. Basevi authored several impor¬
tant essays on various musical topics. His wealth and cultural interests led
him to accumulate a significant collection of rare prints, manuscripts, and
musical works of the 16th and 17th centuries. Ultimately, Dr. Basevi do¬
nated his collection to the Instituto Musicale. Today this magnificent collec¬
tion forms the Fondo Basevi, preserved at the Library of the Concervatorio
Cherubini in Florence.

An extension of the Instituto Musicale was the Accademia Cherubini,
named after another illustrious Florentine, Luigi Cherubini. Members of
this new institution were celebrities such as Verdi, Rossini, Wagner, Liszt,
Thomas, Vieuxtemps, Sivori, Bottesini, Bazzini, von Bulow, Coussmaker,
Gevaert, and many more. At the end of each year, the Academia Cherubini
published a volume containing minutes of all the meetings and papers pre¬
sented and read during the year. Some of these memoirs dealt with futuristic
issues, which, once again, attests to the high degree of musical curiosity
present in Florence at that time. For example, in 1869, a certain Melchiorre
Balbi presented three papers on a topic proposed by the Accademia s pres¬
ident. Mr. Balbi’s task had been “to investigate the possibilities and practical
application of inventing a new harmonic system based on the 12 tones of the
chromatic scale. ’’ Mr. Balbi’s investigation has not been evaluated in modern
times. It might be interesting to learn to what extent he anticipated Arnold
Schoenberg’s “Twelve Tone System.’’

In such a vivacious cultural climate, chamber music and string quartet
playing in particular were very fashionable in Florence. As a matter of fact,
the city became the home base of the famous Florentine Quartet, founded
and led by the great German violiinist Jean von Becker. Becker’s presence
in Florence added an extra international touch to the chamber music scene
in the city. Among the amateurs, string quartet playing became a ritual

Italian Viola Music

187

experience in which violinists and cellists took turns in leading the various
formations. However, one problem seemed to have disturbed those other¬
wise happy occasions: the viola player — or rather the lack of one.

Ferdinando Giorgetti grew particularly sensitive to this problem which,
for him, gradually became a cause of considerable artistic frustration. The
artist was actually being deprived of his weekly string quartet performing.
To remedy the situation, in 1854, Giorgetti published the work he had
begun when the viola crisis first came to light. His Metodo was designed to
convince proficient violinists to learn to play the viola well in order to meet
the requirements of chamber music playing. Giorgetti is very specific in his
plea. In his foreword to his Method he stated:

The viola, this instrument so homogeneous, so interesting, and so indispensable for
obtaining a perfect musical ensemble, has been neglected for a long time, at least here in
Italy. I very often encountered difficulties during my weekly quartet rehearsals, as I could
not find any among my students who could conveniently manage to play the viola part.
Therefore, I set myself to the task of converting to the viola those students whose char¬
acter and aptitude lack somehow the necessary energy and vivaciousness to become
violinists of some distinction. This is not to say that the viola, in order to be well played
does not require exquisite musical taste and a certain performing dynamism. Since the
nature of the instrument is much mellower and quieter than the violin and it is almost
always designated to play intermediary roles, it therefore needs a performer gifted with
uncommon intelligence and emotional balance rather than energy and agressiveness. The
present work, entitled “Method for Learning How to Play the Viola Well,” implies that
the interested student, besides having a perfect knowledge of musical theory, is a good
violinist. This Method will particularly deal with the character and tonal idiosyncrasies of
the viola. The results of following this program of study should enable the player to
become a good violist and perform the most difficult ensemble and solo works. . . .

Giorgetti’s Method is organized into three parts:

Part One

This section contains general notions on the viola, clef, tonal range, left
hand position, bow holding and general bow technique, scales in seven
positons, intervals, chromatic scales, ornaments, and general posture. Thus
far, Giorgetti’s pedagogical concepts do not seem to be particularly innova¬
tive. However, here and there is interesting information on some aspects of
viola playing of the period. For instance, in regard to tonal range, Giorgetti
wrote:

The notes above the A (4th position) are generally weak and of little effect; however,
during a gran solo or a cadenza it is possible to reach a B or even a C perhaps once. Any
abuse of these high notes will not be characteristic of the instrument.

Such an observation clearly confirms the opinion that Giorgetti was not
aware of the published viola concerti by Rolla or the existence of viola
compositions by Paganini.

188

The History of the Viola

Giorgetti’s directions on the left hand position shows that he had a very
clean, methodical technique, indeed a rather rigid approach (definitely no
hand-in-motion continuos vibrato-type as we advocate today). Giorgetti rec¬
ommended:

In order to place the left hand conveniently on the fingerboard, the following placement
from high to low is suggested:

Ex. 15. Giorgetti’s Finger Placement of Left Hand in his Method.

Once the student gets in the habit of placing his left hand on the fingerboard in this
manner, he will then make sure that such a position remains unchanged for as long as
possible while he plays, so the fingers will always fall on the strings perpendicularly like
hammers. The string should be pressed as firmly as possible in order to avoid any form
of undulatory motion between finger and fingerboard. Furthermore, when possible, more
than one finger should remain on the string to stop the notes previously played. This
procedure will be most beneficial for good intonation and for producing a stronger,
rounder tone. And, this system of fingering is of great importance, because the continuous
lifting of fingers generates a confused performance and unnecessary fatigue.

At times there is a sign placed above or below a note indicating that

vibrato should be applied only with the middle joint of the finger well-pressed on the
string. Its release, and a light undulatory motion as the sign suggests should

produce the vibrato. WARNING: Any abuse of vibrato might result in a goat-like cari¬
cature.

A note on holding the viola is intriguing. Giorgetti said,

The viola, like the violin, is held under the chin which is lightly pressed on the tailpiece.

That is to say that the instrument was basically held with the left arm, as has
been advocated by William Primrose.

Regarding the bow, Giorgetti advised that the down-bow stroke has to
be executed by attacking the bow exactly at the frog. The wrist should be
gracefully turned toward the player’s mouth. But, he said,

Do not assume a caricature-like position. The attack has always to be short and neat.
Similarly, the up-bow stroke has to be initiated, with decisiveness, at the tip.

And, he concluded,

Even when playing scales or exercises, always use the bow with command and grandeur.

Italian Viola Music

189

Another recommendation:

Do not mark time with your feet especially in ensemble playing. Occasionally, a
motion of the head is sufficient to indicate a change of tempo. In music, time must be
measured with the mind. Those players who have the bad habit of giving directions with
their lower extremities admit publically that they trust their feet more than their heads.
In conducting an orchestra, the case is different. There are too many minds or too many
feet to coordinate; time must be marked only by the leader of the group who instead of
playing must mark time with a baton.

Part One concludes with five scales and five duets in the first five
positions. They are followed by an exercise which serves as a summation of
the previous material and an excursion into the 6th, 7th, and 8th positions.
Giorgetti advised:

After the student has learned these scales and duets it is recommended that he learn
the accompanying parts as well. The viola is destined most of the time to play accompa¬
niments; therefore, one who studies this instrument must get in the habit of using that
particularly intelligent skill required by the difficult art of accompaniment.

Part Two

Six Characteristic Etudes

The second part of Giorgetti’s work is the core of his Method. Now that
all basic technical elements had been covered, he offered six substantial
pieces of viola music, each written in a style representing a character or
mood whose realization is possible on the viola.

Giorgetti’s Etudes are preceded by an exercise in double and triple
stops. This exercise has recently been published by Ulrich Druner in his
three volume work, The Study of the Viola, so at least a little sampling of
Geiorgetti’s Method is known.

In the Etudes Girogetti was very specific regarding the scope of these
pieces. He wrote:

Music is an inspired art having a language of its own. it does not copy material
objects, but it can express the sentiments and passions of our souls without the help of
written words. In fact, there are instrumental compositions which reach our innermost
sensitivity more directly than many poems, dramas, and literature in general.

It should be kept in mind that Giorgetti, in spite of his obsessive idolatry for
Gioacchino Rossini, was an ardent advocate of pure instrumental music.

Surely Giorgetti wanted to include opera in this listing as well. How¬
ever, in Italy, the controversial subject of instrumental music versus opera,
with its political overtones, was hot at the time. Giorgetti diplomatically
avoided the subject.

190

The History of the Viola

In passing, it is interesting to note that Giorgetti was nicknamed II
Tedescone (The Big German) for his sympathy toward German composers
and toward Rossini who, in his youth, was called II Tedeschino (The Little
German) for his admiration for Mozart. Here some typical Florentine humor
is evident.

But returning to Giorgetti’s advocacy of pure instrumental music, he
wrote:

To this effect the function of the player is essential; he must have an aesthetic
understanding of the works he performs. (Another point strongly advocated by Primrose.)

In fact the study of instrumental music, in my opinion should be divided into three
stages of achievement:

A. Acquire a complete technical proficiency on the instrument so your will can be
imposed upon it.

B. Acquire a complete range of dynamics in order to enrich the interpretation of the
musical discourse with emotions such as to make this art an expression of the
spirit rather than the senses.

C. Acquire a complete knowledge of compositions of all periods and styles, and
become a good sight reader. This is essential for forming one’s own style of
interpretation.

This is the scope of my “Six Characteristic Etudes.’’ I have given each one a title
depicting the character of the music, so the student, after having mastered all technical¬
ities, will use his imagination in expressing the various temperaments implied in these
pages. Finally, I strongly advise the player to learn the part of accompaniment. The
accompaniment has been purposely written in the bass and tenor clefs. It is intended,
however, to be played on the viola. Such a practice will enable the violist, the well-
rounded and versatile musician one would expect him to be, to adapt this part extempore
to his instrument. Once again: The art of accompanying is indispensible to the modern
violist.

(Please note that this was written in the year 1854.)

Here follows a brief synopsis of Giorgetti s Etudes:

Etude No. 1 II Chiacchierone (The Chatterbox), Allegro Mosso. This
Etude was inspired by Paganini’s Caprice No. 2. With its perpetual
motion and biting string crossiing, it is more challenging for the
viola. A firm left hand placement is required here as well as a
strong spiccato.

Etude No. 2. Il Retrogrado (The Retrograde). This puzzling title re¬
quires an explanation. Giorgetti provided one himself: “The 2nd
Etude bears this title because I have imitated the composing style
of the past, the manner of Corelli and Veracini to be specific. I
strongly think that the violin works of these two masters should be
transcribed for the viola with great advantage to the violist. ’’ The
Etude consists of an Overture ( Larghetto ) and Sonata (. Allegro con
spirito).

Etude No. 3 Virrequieto (The Restless), Allegro agitato. This is a
charming Etude in the bizarre key of E Flat minor Uneven rhyth-

Italian Viola Music

191

mical impulses give the piece a sense of instability, hence the title.
Giorgetti recommended absolute perfections in executing this
Etude so the concept of restlessness does not become senseless
confusion.

Etude No. 4 II Matto (The Madman), Allegro un poco mosso. This is a
study of left hand velocity which encompasses the entire finger¬
board. According to Giorgetti’s own notes, the focus of this Etude
is the practical use of slurs. The performance must also be charac¬
terized by sudden changes of moods ranging from fiery bravura to
passionate langour This Etude segues into Etude No. 5.

Etude No. 5 Marcia Funebre (Funeral March). In this Etude the per¬
formance of simultaneous chords forms the main challenge of the
piece. Great care is needed in calculating finger placement and the
amount of bow necessary to produce an agreeable tone.

Etude No. 6 II Tranquillo (The Tranquil), Larghetto. Here Giorgetti had
only one recommendation: “Play this Etude with tranquility,” per¬
haps the most idiomatic mood the viola can express.

Part Three

Finally, in Part Three of his Method, Giorgetti presented the newborn
violist with a challenging concert piece for viola and piano entitled, Gran
Solo pour L’alto Viola in Forma di Scena Drammatica.

The author would like to think that the work was probably inspired by
Ludwig Spohr’s Violin Concerto No. 8, subtitled “In Forma di Una Scena
Contata.” Giorgetti had great admiration for Spohr. He dedicated some of
his best chamber works to the German master. It is the author’s opinion that
Giorgetti’s Gran Solo is both an homage to Ludwig Spohr and to the world
of opera, which, after all, was in the blood of all Italians, even those like
Giorgetti who devoted themselves to purely instrumental music.

It should be reiterated that Giorgetti’s Gran Solo, while not a master¬
piece, is an original Italian 19th century composition for viola and piano
written by a musician truly dedicated to the revival of the viola during its
most critical period of neglect.

CHAPTER XV

ITALIAN VIOLISTS

By Elena Belloni Filippi
of Florence, Italy

Elena Belloni Filippi was one of the fine violists attending the first Lionel Tertis Inter¬
national Viola Compeptition and Workshop in 1980 on the Isle of Man. There my wife and
I met her. Unknown to us, she had purchased a copy of our recently published book. The
History of the Viola, at a bookstore in the village of Port Erin, where the Competition was
taking place. Several months after returning to the United States, we received a letter
from Signora Belloni Filippi in which she stated that she would like to have permission to
translate our book into Italian. She added that the prestigious firm, G. C. Sansoni
Editore, in Florence, had agreed to publish the book. She also wrote that there were
several excellent Italian violists that had not been included in our book, and that she
would like to add a section to Chapter XIV, “The Viola in Europe in the 20th Century.”
It would be entitled “La Viola in Italia.” She would also furnish brief biographies of
outstanding Italian violists that did not appear in the 1980 edition of our book.

Signora Belloni Filippi s proposals were readily accepted, and Sansoni published the
Italian edition in 1983. Signora Belloni Filippi s additions to the 1980 English edition are
presented below as a separate chapter.

Elena Belloni Filippi was born in Pisa in 1922. She studied violin with Gioacchino
Maglioni at the Luigi Cherubini Conservatorio di Musica in Florence, graduating in 1944.
She then studied viola with Guilio Pasquali, and received a diploma in 1947. On a
Fulbright Scholarship she was a part of a Seminar in Salzburg, participating in contem¬
porary Chamber Music. As a member of the Antonio Vivaldi Florence Ensemble and the
Santoliquido, Amfitheatrov of Rome, she toured Italy and abroad. She was a violist of the
A.l.D.E.M. Orchestra of Florence, 1953 -1980, being principal violist of this group from
1970-80. Since 1956 she has been a violist in the Complesso Florentino di Musica Antica
(with R. Rapp and N. Poli), which specializes in polyphonic music from 1300-1600,
playing an exact copy of a five-stringed instrument of the 15th century made by Piretti of
Bologna. This group concertized throughout Italy, Luxemburg, Germany, and also, the
Cittadella Assisi, Radio R.A.I in Torino, and on television in Jugoslavia. She plays a viola
made by Sebastian Klotz of Mittenwald, 1701, body length, 38.6 cm.(15 3/16 in.), and a
viola by Igino Sderci, Florence, 1952, 41 cm. (16 1/8 in.); bow by Vuillaume; and a
Baroque model by Bernard Millant of Paris. Chapter XII is extracted from Storia della
Viola with the permission of the publisher, G. C. Sansoni Editore, of Florence, Italy

The following biographies were researched and contributed by Signora Filippi, ex¬
cept those that are indentified by “See APPENDIX,” or “See VOLUME I.” “See Appen¬
dix,” refers the reader to the APPENDIX in this book, VOLUME 11.

M.W.R.

UGO, b 1876 in Venice, d 1936 Lausanne, Switz. He studed at the
Conservatorio Benedetto Marcello, Venice, with P. A. Tirindelli, and at the

192

Italian Violists

193

Plate 77. Elena Belloni Filippi, Italian Translator of The History of the Viola (Storia Della
Viola).

Conservatore in Liege, with Cezar Thompson. He was a member of the
Flonzaley Quartet 1903-17

ARCIDIACONO, AURELIO, b 1915 in Palermo, is a representative
name among Italian violists who still make a contribution of the highest level
as concert musicians and masters. Besides his many concert engagements
and recordings, he is also superintendent of the music conservatories for the
Ministry of Public Education because of his involvement in teaching. He has
composed various excellent compositions for the instrument. He participates
in the activities of the Internationale Viola-Forschungsgesellschaft (Viola
Research Society) and the International Viola d’Amore Society. He has pub¬
lished a short history of the viola and its music: Gli Instrumenti Musicali: La
Viola. Also see APPENDIX, Vol. I.

ASCIOLLA, DINO, b 1930 in Rome. At the Conservatorio of Santa
Cecilia he studied with Remy Principe, receiving a Diploma in violin; and
continued post-graduate work with A. Serato, and with Guido Agosti re¬
ceived a Diploma in chamber music. He won two prizes in post-graduate
courses at the Academy of Chigiana in Sienna, where he studied composition
with Armando Renzi. In Geneva in 1947, he won first prize in composition;

Iand also won in ‘Competition A. Vivaldi,” in Venice in 1951. Beginning in
1954 he has been widely active as soloist and in chamber music: Duo with
Guido Agosti; Saltzburg Quintet; Virtuosi di Roma; I Musici. Since 1956 he

194

The History of the Viola

has been very active as a violist: two years in Quintetto Chigiano, of Sienna,
1960-62, and teacher at Chigiana Academy. He was formerly Principal
Viola in R.A.I. Symphony Orchestra, Rome; and in Academy Orchestra of
Santa Cecilia. His teaching assignments have been at the Conservatorio of
Bari, 1961-62; in Bologna, 1964-65; in L’Aquila, 1971; and in Rome 1973-
81. In 1982 he became violist in the Assisi String Quartet, and also taught
chamber music in Citta di Castello. Many of his premier performances have
been of music dedicated to him by contemporary composers. He also gave
the first performance in Italy of Sonata for Viola and Piano, Op. 147, by
Shostakovitch; the first modern performance of Sonata per la Grand Viola
by Paganini, followed by its recording with the London Philharmonic. He
gave many performances of Symphonie Concertante by Mozart: with Uto
Ughi in Venice; with Leonid Cogan at Santa Cecilia in Rome; with Salvatore
Accardo, etc. As a member of Quartetto Italiano for two years he toured Italy
and abroad. His records include Paganini Sonata per la Grand Viola
(D.D.G.); Viola Solo Recital (Fonti); La Viola di Dino Asciolla (Italia); and
many recordings with Quartetto Italiano. He owns and plays a viola by Paolo
Maggini, Brescia, 42.08 cm. (16 7/8 in.); and a bow by Pfretzschner.

BANDINI. BRUNO, b 1889 in Faenza, d 1969 in Buenos Aires.

BELLI, ALDO, b 1927 in Trieste. At the Conservatorio Giuseppe
Tartini in Trieste with Giuseppe Alessandri. He is Principal Violist in the
Teatro Giuseppe Verdi Orchestra in Trieste, and since 1954 has been violist
in ensembles and string quartets in Trieste. He is Director of the C.B.R.
Orchestra “Ferruccio Busoni.” He owns and plays a viola by Marino
Capicchioni, Rimini, 1947, 41 cm. (16 1/4 in.); and one by Girardi, 42.5 cm.
(16 3/4 in.)

BELLONI FILIPPI, ELENA, b 1922 in Pisa. See introduction to this
chapter.

BENEDETTI, GIOVANI ALFREDO, b 1942 in Lucca. In Lucca he
studied violin with Aldo Primo; in Florence, viola with Piero Farulli at the
Conservatorio Luigi Cherubini. After playing in the C.B.R. Orchestra of
Zurich, 1961-68; he became Principal Viola in the “Maggio Musicale Flo¬
rentine” Orchestra, 1968-; Ensemble “Musica Rara,” 1969-71; “Musicus
Concentus,” 1972; and participated in premier performances of chamber
music by Donatoni, Sciarrino, Ferrero, Pezzati, Luporini, and others. He
teaches viola at the Conservatorio Luigi Cherubini, 1982-. He owns and
plays a viola by Igino Sderci, Florence, 1962, 42 cm. (16 1/2 in.); and has
bows by Adolf Schuster and A. Voirin fils.

BENNICI, ALDO, b 1938 in Palermo. At the Conservatorio Luigi
Cherubini in Florence he studied violin with G. Maglioni, and viola with
Piero Farulli. He began his concert career playing the Bartok Concerto with
the Teatro Communale Orchestra in Bologna, directed by E. Inbal, who also
featured him with the Orchestra of Israel playing works by Vivaldi,

Italian Violists

195

Telemann, and others. For four years he was Principal Viola with “I Musica”
on tour in Italy, Europe, North and South America, Japan, and Mexico. He
has been a soloist with the principal Italian orchestras, as well as participat¬
ing in international festivals in Edinburgh, Venice, Dubrovnik, and the
Maggio Musicale Florentine. Works were composed for him by Maderna,
Bussotti, Donatoni, Petrassi, Clementi, and Berrio. For Fonit Cetra he
recorded Viola Contemporanea and Berlioz’ Harold in Italy for viola and
piano (F. Lizst) with pianist Rivera. He owns and plays a viola by L. Storioni,
Cremona, 42 cm. (16 1/2 in.); and by Giorgio Corsini, Rome, 1970; and bows
by Sartory and Lamy.

BERNARDESCHI, WALTER, b 1954 in Rome. He studied with
Bruno Giuranna. He was winner in competitions with R.A.I. Symphony
Orchestra of Rome, of the Santa Cecilia of Rome, and also of the Teatro
Communale of Bologna. In the Abruzzese Symphony Orchestra and the
Rossini Philharmonic of Pesaro he is Principal Viola, and is active also in
chamber music groups: the Quintetto Weber, and the Malatestiano Quartet
of Rimini. At Pesaro Conservatorio he has taught viola since 1978. He owns
and plays an S. Scarampella, 1902, 42 cm. (16 1/2 in.); and a bow by V.
Gavioli.

BIANCHI, LUIGI ALBERTO, b 1945 in Rimini. On a Riccordi Schol¬
arship he studied at the Conservatorio Santa Cecilia of Rome with Ghezzi,
Lama, and Sabatini, where he graduated Summa Cum Laude, 1964. With
the Quartetto di Roma he participated on world tours, 1964-72. His solo
career began in 1968 at the Bath Festival with Yehudi Menuhin. With
pianist Leslie Wright he concertized in Europe and South America, 1972-
78. He completed graduate courses in Paris, 1975. Rudolf Serkin invited him
to the Marlboro Festival in the United States, 1975-76. Between 1963 and
1985 he performed Concertos with major orchestras: Bartok Concerto with
the London Philharmonic, conducted by Riccardo Muti; Hindemith Der
Schwanendreher, Rome, 1963; Walton Concerto in London, 1970; Paganini
Sonata per la Grand Viola in Berlin and Buenos Aires, 1970; and others
world-wide. From 1973 to 1978 he taught in the Conservatorio Guiseppi
Verdi in Milan

By lecture and by performance he revived interest in works for the viola
by Alessandro Rolla of Pavia, 198 1-. In conjunction with musicologist, Luigi
Inzaghi, he published the very important biography, Alessandro Rolla, in
1981. Inzaghi did the historical research; Bianchi edited the musical portions
of the book. Bianchi plays and has recorded many of the virtuoso solos for
viola by Rolla.

Bianchi was a featured performer at the X IVG Congress in Stuttgart,
West Germany, 1982; and at the XI IVG Congress in Houston, Texas, 1983.

He did own and played a viola made in Cremona by Antonio and
Girolamo Amati in 1595, 42.5 cm (16 3/4 in.). It had an oil painting on the

196

The History of the Viola

Plate 78. Luigi Alberto Bianci, with his Antonio and Girolamo Amati viola (1595), since
stolen. Note the Crucifix and the Medici Coat-of-Arms on Back.

back of a Crucifix and the Coat of Arms of the Medici family. (Plate 78) This
precious instrument was stolen from him in Milan by two men on a motor
scooter as Bianchi was crossing the street from La Scala to a parking lot. He
now plays a modern viola by Marino Capicchioni.

Recently he has expanded into a new career to include the violin where,
he feels, more opportunities are available. Already the owner of the
“Falmouth’’ Stradivarius violin made in 1692, he purchased the famous
“Colossus’’ Stradivarius violin, 1716, at a Christie’s Auction in London in

Italian Violists

197

1987 for the record amount at the time of £440,000. Bianchi’s new career as
a violinist is making great progress.

BITELLI, MARIO, b 1910 in Ravenna. He studied with F. Barera in
Bologna. There he was Principal Viola in the Teatro Comunale Orchestra of
Bologna, 1940-74; concertizing as soloist in Italy and abroad. He taught at
the Conservatorio G. B. Martini in Bologna, 1941-75, and many of his pupils
are now in Italian and foreign orchestras. He owns and plays violas by
Pollastri, Bologna, 1932, 39 cm. (15 3/8 in); Postacchini, Fermo, 1870, 39
cm. (15 3/8 in.); Capicchioni, Rimini, 1944, 42 cm. (16 1/2 in.). He recom¬
mends that 41 cm. (16 1/8 in.) is the best body length for the viola.

BRUNI, BARTOLOMEO, b 1751 d 1821 in Cuneo. See Vol. I.

BRUSINI, LUIGI, b 1932 in Parma. At the Conservatorio A. Boito in
Parma he studied viola with Giuseppe Alessandri; chamber music with P.
Borciani, C. Ferraresi, and Tomaso Valdinoci. He played in the Teatro Regio
Orchestra in Parma; “Angelicum” of Milan; “Pomeriggi Musicali” of Milan;
Saint Pietro a Maiella Chamber Orchestra of Naples; “I Cameristi” String
Orchestra of Genoa, and the Genoa Theater Opera Orchestra. He gave
premier performances of works by composers, L. Cortese, C. M. Rietmann,
and G. Ramous. From 1981, he has taught at the Niccolo Paganini Conser¬
vatorio in Genoa, 1981-. He owns and plays the viola “Saffo” by Renato
Scrollavezza Noceto, Parma, 1960, 41.5 cm (16 3/8 in.); a bow by H. K.
Schmidt, Dresden.

CAMBINI, GIOVANNI (1746-1825). See APPENDIX, Vol. I.

CAMPAGNOLI, BARTOLOMEO, b 1751 in Cento (Bologna), d 1827
in Neustrelitz, Germany. See APPENDIX, Vol. I.

CENTURIONI, PAOLO, b 1934 in Terni. At the Conservatorio Santa
Cecilia, Rome, he studied viola with Renzo Sabatini; graduating with highest
grades in 1958. From Venice he continued post-graduate studies with
Sabatini, and went to Split, Yugoslavia to study bowing with Anton Bucan.
His career as Principal Viola included: Teatro Massimo, Palermo, 1960-62,
1965-66; “Pomeriggi Musicali,” Milan, 1962-65; Istituzione Concerti,
Cagliari, 1966-69; R.A.I. Symphony Orchestra, Rome, 1980-81; Orchestra
Santa Cecilia, Rome, 1981-82; and in ensembles: Saint Pietro a Maiella,
Naples, 1959-60; “Camerata di Cremona” and “Gasparo da Salo” in Brescia,
1962-65; “I Musica,” 1956-58, 1970-79; Quartetto di Perugia, 1972-75;
“Diapason,” Rome, 1978-80; “Trio d’archi di Roma,” 1974-; and Duo viola-
piano with composer, Boris Porena. He taught at Conservatorios: Palestrina,
Cagliari, 1966-69; G. Rossini, Pesaro, 1969-73; A. Casella, L’Aquila, 1973-
77; Santa Cecilia, Rome, 1977-. His premier performances include: Dialogo
per viola e piano and Improvvisazioni per trio (String Trio of Rome), by
Procaccini, recorded for Edi Pan and Swedish Caprice; String Trio by
Carsteld, recorded by Philips, as well as all the recordings, 1970-79, with “I
Musica.” He owns and plays a viola by Gasparo da Salo, 41.5 cm (16 1/4 in.);

198

The History of the Viola

and one by Annibale Fagnola, Torino, 40.03 cm. (15 3/4 in.); bows by Bazin,
Persois, and Hill Brothers (Fleur de Lys).

CHIOSTRI, LUIGI, b 1847, d 1894 in Florence. He studied with
Giorgetti and Giovacchini. He was an eminent viola virtuoso and a member
of the famous Fiorentino Quartetto.

COCCHIA, FAUSTO, b 1911 in Naples, d 1974 in Perugia. At the
Conservatorio Saint Peter a Maiella, Naples, he received diplomas in violin,
with Pilati; viola with Fusella; composition with Jachino. He did post-grad¬
uate work at the Academy Chigiana with A. Seratto and A. Casella. From
1939 he was Lecturer in Viola at the former Istituto Musicale F. Morlacchi
in Perugia. He won a competition at the Naples Academy of Music. In
chamber ensembles he was violist: Quartet Pro Arte, Quintetto Chigiano,
Virtuosi di Roma; and Solisti Veneti; made solo concerto appearances with
Orchestras of Academies of Music Chigiana, Scarlatti, and Naples, and with
Orchestras Triestina, A.I.D.E.M., Radio Lugano, and Florence, where he
was also Principal Viola. With piano accompaniment he toured Italy, Eu¬
rope, Asia Minor, Canada, Mexico, and U.S.A. His recordings are by many
companies. His modern repertory includes: Honegger, Sonata (1920);
D. Milhaud, Sonata on Anonymous Themes of the XVIII Century; G.F.
Malipiero, Quinto Dialogo per Viola e Orchestra; L. Spezzaferri, Sonata for
Viola and Piano; B. Martinu, Sonata No. 1 for Viola and Piano; I. Lippolis,
Sonata (1956) and Monodia con Variazioni Mitiche; N. Rota, Sonata; and A.
Jorio, Sonata. There were also many appearances on radio and television.
He played a viola by Rodolfo Fredi, Rome, 1940, 40 cm. (15 3/4 in); and one
by Eraldo Cocchioni, Rome, 1960, 41.3 cm. (16 1/4 in.); a bow by Voirin.

CONSOLINI, ANGELO (1859-1934). See APPENDIX, Vol. I.

COSSU, PAOLO, b 1953 in Monserrato, Sardinia. He studied at the
Conservatorio P.L. da Palestrina in Cagliari: violin with Oliviero Bianchi and
Renato Giangrandi; viola with Oscar Crepas. Active in chamber ensembles,
he is also Principal Viola “Istituzione Concerti” Orchestra of Cagliari, 1970-.
He plays violas by Matthias Albani, 1704, 39 cm. (15 3/8 in.); and Mario
Bissolotti, 1969, 42 cm. (16 1/2 in.); and a bow by Pfretzschner.

CREPAS, OSCAR, b in Dolo (near Venice), 1899. After receiving a
diploma in violin and viola at the Conservatorio B. Marcello in Venice, he
spent 40 years teaching and as vice-director at the Conservatorio P.L. da
Palestrina in Cagliari. He was violist in the Quartet Vittoriale, which was
founded by Gabriele d’Annunzio.

DORO, MAURIZIO, b 1942 in Spresiano (near Treviso). In Milan he
studied at the Conservatorio Giuseppe Verdi with Michelangelo Abbado,
receiving a diploma in 1965. He was violist in the Milan String Trio; the
Quartetto Ambrosiano; Rare Music Trio (flute, viola, guitar); founder of “Gli
Scaligeri,” chamber music group of Teatro alia Scala. At the Vittorio Veneto
National Viola Competition in 1971 he won first prize. Having taught at the

Italian Violists

199

Plate 79. The Quartetto Italiano (left to right): Paolo Borciani, Elisa Pegreffi, Franco Rossi,
Piero Farulli.

Conservatorio Venturi in Brescia, he now teaches at the Conservatorio
Giuseppe Verdi in Milan. He owns and plays violas by Giuseppe Ornate,
Milan, 1952, 42 cm. (16 1/2 in.); Evasio Emilio Guerra, Turin, 1906, 40 cm
(15 3/4 in); Erminio Malagutti, Milan, 1976, 42 cm. (16 1/2 in.); and bows by
Bazin, La Pierre, and Lamy.

FARULLI, ANTONELLO, b 1957 in Florence. He studied at the
Conservatorio L. Cherubini in Florence, and at the Music School in Fiesole
with Piero Farulli, his father; and followed at the Chigiana Academy, Siena
(Diploma with honors); and the Ottorino Respighi Academy in Assisi. Then
he was active with “I Virtuosi di Roma,” Quintetto Haydn, and European
Youth Orchestra (E.C.Y.O.); Principal Viola Italian Youth Orchestra, 1977;
and Siena Chamber Orchestra, 1982. His premier performances include
Romano Pezzati’s Per Tre Viole Estate Fiesolana” with Poggi and Merlini;
Pier L. Zangelmi Retour No. 3 with Merlini, viola, and M. Gallini, harpsi¬
chord. Television recordings were made of the Beethoven Trios and the
Pezzati Trio. He teaches at Conservatorio G. Verdi, Turin, 1979-. His viola
by Igino Sderci, Florence, 1939, 41 cm. (16 1/8 in.) was played for 30 years
by Piero Farulli in Quartetti Italiano; his bow is a Pecatte copy by Sugito.

FARULLI, PIERO, b 1920 in Florence. At the Florence Conservatorio
Luigi Cherubini he studied with Gioachino Maglioni, who joined him in
1946 in Quartetto Maglioni along with Giangrandi and Grossi. In the Quar-

200

The History of the Viola

tetto Italiano (Plate 79), an ensemble of international renown whose perfor¬
mances belong to the history of great world quartet interpretation, he was
joined by P. Borciani, E. Pegreffi, and F. Rossi, 1947-77, in tours world
wide. They received many recognitions including a Gold Medal Award for
School, Culture, and Art by the President of Italy. Farulli collaborated with
the Amadeus Quartet, the A. Berg Quartet, and the Triesse Trio (Sanetto-
vich, Baldovina, De Rosa); and was soloist with Daniel Chorzempa (harpsi¬
chord) and the Siena Chamber Orchestra A.I.D.E.M.; and has been in¬
volved with recordings with the most important record companies. He has
been a member of many competition juries, including the Tchaikowsky for
Cello, Moscow, 1978; the Lionel Tertis Viola, Isle of Man, 1980; the Gaspar
Cassado Cello, Florence. As Professor of Viola he was permanently on the
staff of Conservatorio Cherubini, 1957-77; Lecturer on Quartets at Academy
Chigiana; Guest-professor of Viola at Salzburg Mozarteum; taught Scuola
Normale Superiore at Pisa; organized and active at Music School Estate
Fiesolana 1962-, founded National Committee for Music and Culture, Na¬
tional Center for Music Experiments, and Professional Qualification Courses
for Orchestra. He plays a viola by Igino Sderci, Florence, 1940, 42 cm. (16
1/2 in.), and one by Tomaso Joannes Udalricus Eberle, Prague, 1763, 42 cm.
(16 1/2 in.).

FERRAGUZZI, RENZO, b 1915 in New Haven, CN. See APPEN¬
DIX, Vol. I.

FIORILLO, FEDRIGO, b 1755 in Brunswick, d after 1823. See AP¬
PENDIX, Vol. I.

FORMENTINI, MARCELLO, b 1906, d 1974 in Florence. In Flo¬
rence he studied at the Conservatorio Luigi Cheribini, violin with G. B.
Faini, diploma and gold medal; viola with Giulio Pasquali. At its founding in
1928 he joined the Stabile Fiorentina Orchestra (now Orchestra del Maggio
Musicale Fiorentino), and served as Principal Viola there, 1931-71; and also
in the Orchestra of the Academy Chigiana of Siena. With this orchestra he
often performed Mozart s Symphonie Concertante with violinists Pierangeli,

F. Ferrara, Urbini, and Abussi; Berlioz’ Harold in Italy; Handel’s Concerto;
Pizzetti’s La Pisanella; Zafred’s Peace Song; Ghedini’s Concerto for 2 Violins
and Viola; Bartok’s Concerto for Viola; R. Strauss’ Don Quixote; and others;
as well as with with E.I.A.R. (now R.A.I.). He participated in considerable
quartet activity: G. Maglioni Quartet of Florence (G. Maglioni, S. Materassi,

G. Francesconi), 1931-; founder Orchestra Stabile Fiorentina Quartet, 1932;
collaborating also with Quartet Strub and Octet of Vienna. His teaching
career was at Society Filarmonica D. L. Persi, and Lecturer at the Conser¬
vatorio L. Cheribini, Florence. He played The Medici Tenor, and owned
and played one by Stefano Scarampella, Mantua, 1904, 39.4 cm. (15 1/2 in.)

FRANCAVILLA, GIUSEPPE, b 1933 San Ferdinando di Puglia. He
studied with L. d’Ambrosio, and was winner of first prize in “Rassegna
Nazionale Concertisti,” 1958. Since 1959 he has concertized in Teheran,

Italian Violists

201

Istambul, Ankara, Tel Aviv, Athens, Monaco, Montreal, New York, Phila¬
delphia, Washington, D.C., etc. Since 1962 he has been Principal Viola in
the Orchestra A. Scarlatti R.A.I. in Naples, and in Quartet A. Scarlatti
(Prencipe, Rocchi, Caramia) and the Naples Quartet (Fiorentino, Prencipe,
Caramia). Since 1960 he has been Lecturer at the Conservatoria S. Pietro a
Maiella, Naples. He plays a viola by Tomaso Joannes Udalricus Eberle,
Prague, 1761, 40 cm. (15 3/4 in.); and bows by Voirin and Richaume.

GHEDIN, ALFONSO, b Treviso, 1936. He received a Diploma in
violin after study with Riccardo Bregola, and in viola with Luigi Ferro. He
became Principal Viola Soloist with “I Musica” 1958-67; and in the Sym¬
phony Orchestra R.A.I. 1979-. In quartets, he was a founding member of
Beethoven Quartet, Rome, 1970-. Often he is invited to “Settimana di
Musica da Camera,” Naples, to play with Accardo, Asciolla, Giuranna,
Gazzelloni, Filippini, Schiff, and Petracchi. He has recorded for Philips,
E.M.I., Cetra, Musica Viva, and Australia, including recordings with “I
Musica;” received Italian Critics Award for recording of Beethoven Quar-
tetto con Pianoforte. At the Conservatorio Santa Cecilia, Rome, he is a
regular Lecturer in Viola. He plays a viola by G. B. Guadagini, Milan, 1743,
40.6 cm. (16 in.); a bow by Dominique Peccate.

GIORGETTI, FERDINANDO (1769-1867). See Chapter XIV.

GIULINI, CARLO MARIA, b 1914 in Barletta. An orchestra conductor
of international renown, he studied violin with Leo Petroni in Bolzano, but
was advised by Remy Principe to take up viola, with whom he studied,
graduating from Santa Cecilia Conservatorio with honors, studing composi¬
tion at the same time. For his Diploma he performed his own transcription
for viola and piano of the Antonin Dvorak Concerto for Cello and Orchestra.
He played in the Augusteo Orchestra of Rome and the Academy Chigiana
Orchestra of Siena. His viola is by Arienti, a Milanese lute maker of the 19th
century. He considers the viola a wonderful instrument, especially in string
quartets: “to be the violist in a quartet has been for me an aspiration as great
as my passion for orchestral conducting.”

GIURANNA, BRUNO, b 1933 in Milan, has gained a world-wide rep¬
utation as a first-rate violist and teacher. Besides his intense concert activity,
he regularly teaches at the Concervatory of St. Cecilia in Rome, at the
Chigiana Academy in Siena, and at the Nordwestdeutsehe Musikakaaemie
in Detmold, West Germany. Giuranna is much sought after in every country
as a teacher for post-graduate courses, and many of the skilled soloists of
today have been his pupils. He owns and plays a viola by Michele Deconnet,
Venice, 1766, 40.7 cm. (16 in.). Also see APPENDIX, Vol. I.

IOTTI, OSCAR RAOUL, b 1913 in Modena, d 1986 in Tucson, AZ,
U.S.A. He studied violin at the Liceo Musicale “Orazio Vecchi,” Modena,
1933; at the Guiseppe Martini Conservatorio, Bologna, 1934; advanced viola
at the Conservatorio Claudio Monteverdi, Bolzano, 1940; music education at
the University of Panama, 1966; received Master of Science in Music degree

202

The History of the Viola

at Kansas State University, 1967; Master of Education degree at Arizona
University, 1975. He was viola soloist in European orchestras, 1933-40;
Radio Caracas, Venezuela, 1947; and in Saint-Malo Quartet in Panama,
1948-50. Included in his teaching career was instruction in violin and viola
in Modena, Italy; in the National Conservatory of Music in Panama and in
Venezuela; at Marymount College, Salina, Kansas; Professor of Violin-Viola,
University of Arizona, 1967-78. In Arizona he was Principal Viola in the
Tucson Symphony and in the Arizona Opera Orchestra 1967-78. He played
premier performances in Italy and in Venezuela of solo dedicated to him by
Gyula Bando, Musica para la Viola. He conducted ethnomusicological re¬
search and folklore of the San Bias Indians in Panama, 1971-72, for which he
received the “Gold Master Key of the Panama Canal Locks.’’ He also was
awarded a Gold Medal by the Association Musicisti of Modena, 1972.

LAMA, LINA, b in Faenza. Having studied at Conservatorio Saint
Pietro a Maiella, Naples, she won first prize in the Young Concertist Review,
1951. She served as Principal Viola in the Saint Carlo Theater Orchestra,
Naples; in the Orchestra Scarlatti R.A.I., Naples; and the Orchestra Mo-
zarteum, Salzburg, where she performed also in concerts. She has per¬
formed as soloist with conductors: Pretre, Previtali, Scherchen, Dobrowen,
Georgescu, Hindemith, Von Mazerath, Klecki, Suitner, and others, includ¬
ing a performance of Walton’s Viola Concerto, with the B.B.C. in London,
with Walton conducting. In 1973 at the Teatro S. Carlo she gave the first
modern performance in Naples of Paganini’s Sonata per la Grand Viola. She
was a member of the Jury for the International Viola Competition in Buda¬
pest, 1979. Since 1959 she has been Professor of Viola at Santa Cecilia
Academy in Rome; and also taught advanced students at Jwaskyla Festival,
Finland, 1968-69; at the National Festival “Citta di Castelo,” 1973; and at
the Music Festival at Lanciano, 1975-.

LENZI, EDO, b 1937 in Bolzano. At the Conservatorio Claudio Mon¬
teverdi in Bolzano, he studied violin with Sirio Piovesan, violin, and viola
with Giannino Carpi. In graduate courses with Vasha Prihoda, Salburg, he
received Diploma Summa Cum Laude. He became a full-time violist in
1964, and served 1970-72, as Principal Viola in the Symphony Orchestra of
Bologna; the Filarmonici Bologna; Haydn Orchestra of Bolzano; A.I.D.E.M.
Symphony, Florence, 1972-74; and the Lyrical Association of Verona, 1974-
78. He has been very active in chamber music: Bologna Sextet, Baroque
Quintet, Settimino Bolzano, Soliste Veneti, Piano Quintet Verona, etc. He
performs much contemporary music. He has taught Viola in the Conserva¬
torio of Trento, 1971-73; and in Verona, 1974-. He plays a viola by Stefano
Grime, Bolzano, 42 cm. (16 1/2 in.).

MAGLIONI, GIOACCHINO, b 1891, d 1966 in Florence. Violinist,
violist, and composer, he studied violin with Bicchierai at the Conservatorio
Luigi Cherubini, Florence, where he received a Diploma in 1907 with two

Italian Violists

203

Gold Medals. He won first prize at the Cesare Thomson Brussels Conser¬
vatory, 1908. He studied composition with Gevaert, and won competitions
in Italy and abroad. He had many excellent pupils, including Piero Farulli
and Aldo Bennici. In quartets and in orchestras he played viola. His com¬
positions include Concerto per viola and piano in forma di ballata, 1929,
Sonatine pour violin et deux alto, 1950, and duets for violin and viola. He
played a viola by Lorenzo and Tommaso Carcassi, Florence 1746, 38.6 cm
(15 1/8 in.), now in the Museum of Instruments of the Conservatorio Luigi
Cherubini.

MATTEUCCI, GIUSEPPE (1893-1952). See APPENDIX, Vol. I.

MERLINI, FABRIZIO, b 1959 in Florence. He studied at the Con¬
servatorio Luigi Cherubini in Florence and with Piero Farulli at the Music
School of Fiesol; and on scholarship at Vittorio Veneto, 1977, 1978. He plays
with “I Virtuosi di Roma,” and is Principal Viola in Teatro San Carlo Or¬
chestra, Naples; Quintteto Haydn; and has made solo performances through¬
out Italy and Paris. His premier performances include Romano Pezzati’s Per
Tre Viole (Poggi, Farulli, Merlini) at Estate Fiesolana, 1979; P.E. Zangelmi’s
Retour No. 3, (with A. Farulli, viola, and M. Gallini, harpsichord). The Viola
Trio has performed on television. His teaching has been at the Conservatorio
Giuseppe Verdi in Turin, 1978-81; and at Music School of Fiesole, 1982-.
He plays a viola by Enrico Marchetti, Turin, 1912, 41.5 cm (16 1/4 in.), and
a bow by Sturm.

NASSIMBENI, LORENZO, b 1958 in Udine. He received a Violin
Diploma from the Conservatorio J. Tomadini, Udine, 1978, having studied
with Ernesto Leonardi, and a Viola Diploma from Conservatorio B.
Marcello, Venice, 1980, having studied with Augusto Vismara. He is a mem¬
ber of the Orchestra Teatro La Fenice of Venice and is very active in cham¬
ber music groups. He also plays the Viole d’Amore. He plays a viola by
Giobatta Morassi, Cermona, 1978, 41.5 cm. (16 1/4 in.).

ORIGLIA, GIORGIO, b 1937 in Saluzzo. He studied at the Civic
Institution B. Bruni Cunneo, with Giovanni Mosca and Bruno Giuranna. He
is Principal Viola in the R.A.I. Orchestra of Turin, 1974-, and active as
soloist and in quartets on radio in Turin. He teaches viola in Conservatorio
Giuseppe Verdi, Turin 198 1-. He plays a viola by A. Morano, 1977, 40 cm.
(15 3/4 in.); one by Capicchioni, Rimini, 1981, 42 cm. (16 1/2 in.); one by
Gaggini, 1958, 42 cm. (16 1/2 in.); and bows by E. Sartory, Cuniot-Hury, C.
Tomassin, and Sturm (three stars).

PAGANINI, NICCOLO, b 1782 in Genoa, d 1840 in Nice. See VOL¬
UME I, Ch. XI.

PARIS, MASSIMO, b 1953 in Rome. He studied at the Conservatorio
Santa Cecilia in Rome, receiving Diplomas in viola, 1974; in composition,
1976; in orchestra conducting, 1979; and completed post-graduate courses at
the Academy Chigiana, Siena. His prizes include one from Fondation A.

204

The History of the Viola

Curci, 1971; 1st prize at the International Festival “Citta di Castello,” 1973;
prizes Association Romana Amici Musica, 1974, 1976; and National Review
“Auditorium” R.A.I.-T.V., 1977. He has been Viola and Viole d’Amore So¬
loist with “I Virtuosi di Roma” and with “I Musici,” 1978-. In a Duo with
pianists Carlo Bruno and Arnaldo Graziosi he gave concerts at Carnegie
Hall, New York; Frankfurt Opera; Paris Opera, Argentina Teatro Coliseo,
Buenos Aires; Teatro Solis, Montevideo, Rio de Janeiro; Musikhalle, Ham¬
burg; Koseinenkin, Tokyo. He is part of the Quartet Faure, Rome (P.
Camirelli, P. Pellegrino, F. Strano, piano Maureen Jones). His premier
performances include: Irma Ravinale’s Dialoghi per viola , chitarra, e or¬
chestra (guitar, Mario Gangi), with the R.A.I. Orchestra of Rome, directed
by M. Pradella; Sergio Mon tori’s Contrappunti (recorded by Cinevox); K.G.
Roy’s Cantico delle creature for viola and chorus, at Incontri Musicali
Romani. Since 1974 he has taught viola at Conservatorio A. Casella,
L’Aquila, and now also at the Conservatorio Santa Cecilia, Rome. He plays
violas by M. Capicchioni, Rimini; A. Poggi, Bologna, 42 cm. (16 1/2 in.);
Lorenzo Carcassi, Florence, 1748, 40 cm. (15 3/4 in.); bows by E. Sartory,
A. Vigneron, A. Lamy; Luciano Vicari, Rome; Renzo Becchini, Milan.

PASQUALI, GIULIO (1884-1943), a quartet violist, was also a soloist
on the viola d’amore. He held the First Chair of Viola at the Conservatory
Vincenzo Bellini in Palermo (1913-15), and afterwards at the Conservatory
Luigi Cherubini of Florence for more than thirty years (1916-49). He
trained many excellent pupils who are active in quartets and orchestras. See
APPENDIX, Vol. I.

PEZZULLO, GIUSEPPE. He studied at the Conservatorio Santa
Cecilia in Rome with Alfonso Ghedin. He is a member of the R.A.I. Sym¬
phony of Rome, of “I Solisti di Chieti” in various chamber music groups from
trio to quintet, and with the Ensemble “Come-in” (Pescara). Reviews of his
performances appear in three editions of Musica del Nostro Secolo, 1979-
80-81. He has given premier performances of music by Bianchini, Delli
Pizzi, G. Ferrari. He plays a viola by Cesare Castelli, 1976; a bow by Werner
Ernst.

PICCHIANTI, LOTTI UGHETTA, b 1918 in Florence. She studied
viola and viola d’amore with Giulio Pasquali at the Conservatorio Luigi
Cherubini, Florence. Playing regularly in Orchestra Maggio Musicale
Fiorentino, 1941-78, she has been active also as a soloist (R.A.I.) and in
chamber music, Trios: (Bruno Artoletti, flute, Sergio Dei, violin), (Gaspar
Cassado, cello, G. Gordigiani Mendelssohn, piano), and (G. Parenti, viola
d’amore, M. Luisa Giannuzzi, harp); Quartets: Feminile in Florence (C.
Francalanci, Pia Gualtieri, L. Falsettini); in Siena (Franco Gulli, Elisa
Pegreffi, Linio Fillippini), and (Sandro Materassi, Sergio Dei, Pietro Grossi);
Duet (Giorgio Ciompi, violin); Orchestra Maggio Musicale Fiorentino,
1941-78. She gave the premier performance of Sylvano Bussotti’s Trio with

Italian Violists

205

Leonardo Pinzauti, violin and Walter Baracchi, piano; Vivaldi Juditta
Triumphans. She has played violas 41 cm. (16 in.) and 42 cm. (16 1/2 in.): by
G. Gagliano; Stefano Scarampella; V. de Zorzi, Florence; I. Sderci, Flo¬
rence; Piero Badalassi, Pisa; Gaetano Gadda, Mantova; and bows by Bazin
and La Pierre.

POGGIONI, EMILIO, b 1937 in Magione. He studied at the Conser-
vatorio F. Morlacchi in Perugia with Fausto Coccia and Piero Farulli. He has
played viola with “I Solisti Veneti,” Societa Cameristica Italiana,” “Trio di
Como,” and “Amati Quartet.” His premier performances and recordings
comprise many works with chamber music groups including 19 Quartets by
Donizetti with the Amati Quartet. He plays a viola by F. Garimberti, 1970,
42 cm. (16 1/2 in.); bow by Sturm.

POLO, ENRICO, (1868-?). See APPENDIX, Vol. I.

PORZI, GIORGIO, b 1938 in Perugia. He studied at the Conservatori
F. Morlacchi in Perugia with Fausto Cocchia and Renzo Sabatini. He has
been Principal Viola at the Teatro Comunale of the Opera Carlo Felice,
Genoa, 1965-; Gruppo Strumentale Genovese (Quintet), 1967; and has
played in the following Chamber Orchestras: Saint Pietro a Maiella, 1962-
64; Societa Corelli, 1963-64; Gli Strumentisti del C. Felice, 1972-74; del
Tigullio, 1976-77. He gave the premier performance of Hovhannes’ Shirann
Shirah, as viola soloist. His viola teaching career includes: Conservatorio
of Music Brescia, 1974-78; Conservatorio Guiseppe Verdi, Milan, 1977-78;
Conservatorio Niccolo Paganini, Genoa, 1978-81; Conservatorio F.
Morlacchi, Perugia, 1981-. He plays violas by Cocchioni, 1960, 42 cm. (16
1/2 in.); Garimbetti, 1972, 42.2 cm. (16 5/8 in.); bows by Morizot, and
Lapiter.

POZZI, CARLO, b 1918 in Alessandria. His teachers were Romeo
Scarpa and Ercole Giaccone. He played Principal Viola in the Symphony
Orchestra R.A.I., 1944-1977; and in Quartet R.A.I, Turin; Quartet San
Remo; Quartet Turin. With the String Trio Viotti, he won the “Viotti d’oro,”

1977. He participated in the premier performance of Viozzi’s Quintetto per
2 violini, viola, 2 violoncelli. He recorded much chamber music for Recordi
and Phonogramma. He was Lecturer of Chamber Music at the Conservato¬
rio Guiseppi Verdi, Turin; of Piovera Courses; and of Fiesole Professional
Courses. He plays a viola by Mario Capicchioni, 1973, 42 cm. (16 1/2 in.);
bows by Pfretzschner and Sturm (three stars).

RAVASIO, MAURIZIO, b 1953 in Milan. He studied at the Civic
School of Music of Milan with Tito Riccardi and Armando Burattin. He plays
viola in the R.A.I. Symphony Orchestra, Milan, 1979-; and in various cham¬
ber music groups. He plays violas by Gianotti, 1973, 42 cm. (16 1/2 in.), and

1978, 41 cm. (16 1/8 in.); F. Tarantino, 1981, 41 cm. (16 1/8 in); bows by
Morizot, and Bechini.

RICCARDI, TITO, b 1929 in Rimini. He studied violin with his father,

206

The History of the Viola

Guilio Riccardi (student of Corti and Caesar Thomson in London), and re¬
ceived a Diploma in violin and in viola from Conservatorio Guiseppe Verdi,
Milan, 1949, with Attilio Crepax; and took post-graduate courses at the
Academy Chigiana, Siena, with Jacques Thibaud and Georges Enesco, 1952.
He played in String Quartet Milan, 1955-63; Quintetto Chigiano, 1965-67;
Sestetto Chigiano, 1967-74. He performed the premier modern revival of
Ivan Khandoshkin’s Concerto in C Major for Viola and Orchestra with
“Pomeriggi Musicale,” Milan, 1975; recorded Riccardo Malipiero’s Ciaccona
di Davide for Viola and Piano. At the Conservatorio Claudio Monteverdi he
taught chamber music, 1965-70; at the Conservatorio A. Boito, Parma, he
taught viola, 1970-77; and is Lecturer of Viola at the Conservatorio
Guiseppe Verdi, Milan 1978-. He wrote Inizio alia viola, five studies from
the first to the third position for transferring to the viola, published by
Sonzogno. He plays violas by Garimberti, 1952, 42 cm. (16 1/2 in.); Pietro
Guarneri, 40.5 cm. (15 7/8 in.); bows by Hill and by Sturm.

ROLLA, ALESSANDRO, b 1757 in Pavia, d 1841 in Milan, see Chap¬
ters X and XI in VOLUME I.

SABATINI, RENZO, b 1905 in Cagliari, d 1973 in Rome. He estab¬
lished a competency of the highest level. He was outstanding on both the
viola and the viola d’amore as a concert and as a recording artist. In 1941 he
was appointed Professor of Viola at the Accademia di Santa Cecilia in Rome,
where he became recognized as one of the great teachers of the 20th cen¬
tury. See APPENDIX, Vol. I, and also Chapter XIV of VOLUME I.

SAGRATI, LUIGI, b 1921 in Rome. He studied violin with Gioconda
de Vito and Remy Principe. As a violist he was active in chamber music:
Trio, Quartet, Quintet Boccherini, and founder-member of Brahms Quartet.
He participated in the premier performance of Bach’s Arte della Fuga for
String Quintet, 1967, Ausbach, Germany. With chamber music ensembles
he has made many recordings with most Italian record companies. He plays
a Tertis Model viola by Capicchioni, Rimini; bow by Peccatte.

SAVELLI, ALEARDO, b 1914 in Padua. He received a Diploma in
violin with Eros Posello; a Diploma in viola with Sandor Roth (the violist of
the Lener Quartet), and also studied quartet music with Roth; following
with chamber music courses at Academy Chigiana, Siena. He was violist in
many chamber ensembles, including: Quartet Ferro, 1937-48: Orchestra
Suisse Romande, Quartet of Geneva, 1948-52; “I Virtuosi di Roma, ’’ 1954-
68; “Ensemble di Venezia” and La Scala Philharmonic Orchestra, Milan (by
invitation) 1968 -. He taught chamber music at the Conservatorio Benedetto
Marcello, Venice, 1958-76. He plays violas by Riccardo Antoniazzi,
Cremona, 1910, 41 cm. (16 1/8 in.); Sesto Rocchi, San Polo d’Enza, 1969, 42
cm (16 1/2 in.); Natale Carletti, Pieve di Cento, 1975, 42 cm. (16 1/2 in); and
bows by Bechini, Dupuy, Penzel (3 stars).

SEMPREBON, IGINO, b 1954 in Verona. At the Conservatorio of

Italian Violists

207

Verona he studied with Ferruccio Sangiorgi and Edo Lenzi. He plays viola
with the Arena Concertino Orchestra of Verona, 1976-; Teatro all Scala,
Milan, 1979; Teatro La Venice, Venice 1980; “Quartteto Accademico,”
Verona 1979-; Duo “Viola-Cello,” 198 1-. His premier performances in¬
clude: Sonata per viola e violoncello in do minor e by Boccherini; Duo per
viola e violoncello by M. Kichl; Duo per viola e violoncello by M. Miletic; all
with M. Kichl, cello; all recorded by Jugoton, Zagreb. He is a Viola Lecturer
at the Conservatorio Guiseppe Tartini, Trieste, 1979- He plays a viola by
Giobatta Morassi, Cremona, 1968, 41 cm. (16 1/8 in.).

SPIGA, UMBERTO, b 1937 in Rome. He studied at the Conservatorio
Santa Cecilia, Rome, receiving diplomas in violin with Remy Principe, in
viola with Renzo Sabatini; and advanced studies in viola d’amore in Venice,
chamber music with “Quartetto Italiano.” He was Principal Viola in Orches¬
tra Allesandro Scarlatti, R.A.I., Naples, 1969-75; Co-Principal Viola Sym¬
phony Orchestra R.A.I., Rome and Academy Santa Cecilia; Solo Viola and
Viola d’Amore with “I Solisti Aquillani” and “Camerata A. Casella;” Duo “I
Nuovi Musici di Roma” with Maria Mosca, piano. He gave the first perfor¬
mance in Naples of Serenata per viola, violoncello, oboe, e mezzo soprano
by Hindemith; premier performance of Trio per flauto, viola, arpa by
Pennisi (M. Ancillotti, C. Antonelli) with the Philharmonic of Rome. He
teaches at the Conservatorio Santa Cecilia, Rome 1980-. He plays a viola by
Carlo Guiseppe Testore, Milan, 1732, 42 cm. (16 1/2 in); bow by Hill and
Sons.

VALENTI, CLAUDIO, b 1953 in Lucca. He received a Diploma in
viola from the Luigi Boccherini Institute of Music, Lucca, studying with O.
Barbetti; advanced studies: at the Fiesole School: viola and quartet with
Piero Farulli; chamber music with P. Vernikov, C. Bogino, A. Liebermann;
composition at the Conservatorio Luigi Cherubini, Florence, with Luporino
and Prosperi. He has played with various chamber groups on tour in Italy
and abroad. He teaches viola at the Luigi Boccherini Institute of Music,
Lucca, 1979-. He plays a viola by Lanaro, Padua, 1974, 42 cm. (16 1/2 in.).

VALENTI, GIUSEPPE, b 1941 in Messina. He studied at the famous
Arcangelo Corelli High School of Music in Messina: violin with C. La Spina,
viola with Giovanni Leone, composition G. Contilli; certified to teach. He is
violist at Teatro della Opera Roma, 1974-; Quartetto d’Archi di Roma, 1975-
(recordings and broadcasts). He gave the premier performance with String
Quartet of Lullaby by Gershwin (unpublished); De puero meditatio by A.
Morviducci; Spes ultima dea by F. Zigante; Adagio e Scherze by A. Cuscina.
He plays the viola “Vulcano” by F. Cossu, Catania, 1971, 41.5 cm. (16 3/8
in.); viola d’amore by Monterumici, Bologna, 1934, 42 cm. (16 1/2 in.); for
avant-garde music a 5-string viola (C-E); bows by the father Penzell, and
Sturm.

CHAPTER XVI

YUGOSLAVIAN VIOLISTS

Contributed by
Dr. Zvonimir Devide
of

Zagreb, Yugoslavia

Dr. Davide, the author of this section, was born August 6, 1921, in Lenart, Slov. goricel
Maribor, Slovenia, Yugoslavia. His music teachers were his father, B. Devide (1929-30);
F. Serajnik (1930-39) in Maribor; and Ladislav Miranov (1939-41 ), Secondary School of
the Music Academy in Zagreb.

Dr. Devide, in addition to being a full time Professor of Biology at the University of
Zagreb (now retired), continues to participate in many musical activities. Since 1954 he
is “an ordinary member” (amateur) of the Croatian Musical Institution, in which he
performs on both the viola and the viola d’amore. Among works he has performed with
success are the Concertos for Viola d’Amore and Strings by Vivaldi; the Concerto for
Flute, Viola d’Amore, and Oboe by Telemann; and the Concerto for Viola and Strings by
1. G. Graun.

In 1984 Decide joined the famous guitarist, Istvan Romer, in a performance of the
Concerto in d-minor for Viola d’Amore, Guitar, and Strings by Vivaldi, accompanied by
the Drustveni Orkestar Hrvatskoga Glazbenog Zavoda, conducted by Ivor Gjadrov.
Zagreb’s leading newspaper’s music critic wrote:

In addition to the professional soloists, namely an enthusiastic amateur,
Zvonimir Devide, interpreter of the viola d’amore part, appeared achieving
along with the guitarist, Istavan Romer, the most refined effects in dynamics,
tone, and content.

Decides love and dedication to the viola has been manifest by his participation and
contributions to the Internationale Viola-Gesellschaft. He is President of the Yugoslavian
Chapter of the IVG. He also prepares and publishes the Annual Newsletter of the Yugo¬
slavian Chapter of the IVG. In recognition of these activities Franz Zeyringer, President
of the IVG, awarded him the Silberne Violaschussel (Silver Viola Key) in 1985.

Devide is Head of the Section for Viola and Viola Music of the Croation Musical
Institution ( 1983- ). He is a member of the Board of Directors, and now is the President
of The Croation Musical Society.

Davide s interest in both biology and the viola resulted in research which was re¬
ported in his article entitled “ Resonant Wood of String Instruments,” which appeaared in
the journal Tonavi, 8 (1989), pp. 10-18.

He owns and plays a viola made by Emanuel Huller, No. 790, of Graslitz (n.d.), and
a viola d’amore made by F. M. Samann of Dresden (1964).

The author of this book has enjoyed and profited from a twelve year acquaintance
and correspondence with Dr. Davide, which has culminated in his furnishing the follow¬
ing biographies of Yugoslavian violists.

M.W.R.

208

Yugoslavian Violists

209

jAlRANJOS, STJEPAN, b. 1914, Zagreb, Croatia, Yugoslavia. Studied
composition and violin at the Music Academy in Zagreb (violin: M. Scon-
stein and L. Miranov, 1925-34, and V. Huml, 1935-41). Violist in Zagreb
Philharmonic Orchestra 1935-74, Croatian National Theater Opera Orches¬
tra, 1938-, Radio Zagreb Orchestra, 1940-. Music Editor of Radio Zagreb,
1954-64. Founder of many chamber and orchestral ensembles, including
piano duos, piano trios, wind instrument quintets, and string quartets; and
the Yugoslav Radio-Diffusion Orchestra and the Zagreb Soloists Ensemble,
in which he played viola until 1970. Program director, 1964-70, and mem¬
ber until 1974 of Zagreb Philharmonic Orchestra. Owns and plays violas by
Josephus Ferdinandus Leidorf, 17??, 39 cm. (15 3/8 in.) (Editor’s note:
Walter Hamma in his Geigenbauer der Deutschen Schule, pp. 19-23, shows
photographs of two of Leidolf’s violas of this body length, made in 1766 and
1770.); and Marinus Capicchioni, 1960, 41 cm. (16 3/16 in.).

ARANY, DRAGUTIN, b. 1899, Kaposvar, Hungary; d. 1964 in Zagreb.
Studied violin, Music School of Croatian Music Institution with V. Rosen-
berg-Ruzic, 1915-6; V. Huml, 1916-7. Opera-Orchestra of the Croatian
National Theater, second concertmaster, 1918-21, solo violist, 1921-51.
Zagreb Philharmonic Orchestra, solo-violist, 1952-54. Sarajevo Opera
Orchestra, solo-viola, 1954-58. Croatian National Theater Opera Orchestra
and Zagreb Philharmonic Orchestra, solo-violist 1958-64. Zagreb String
Quartet (with A. Jan Pribil, Milan Graf, and Umberto Fabri), 1921-41, and
in radio broadcasts, 1941-43,1946; Sarajevo String Quartet, 1954-58.
Teacher of violin and viola in Secondary School of the Music Academy in
Zagreb, 1928-34; Full Professor of Viola and Chamber Music at Sarajevo
Music Academy, 1954-58. Organizer of musical and musico-social life: ini¬
tiator of the Zagreb Philharmonic Orchestra (1919) and its president (1920-
38). One of the founders of the Musician’s Union and president of its Exec¬
utive Committee (1929-34). Director of the Croatian National Theater
Opera Orchestra. Director of the Concert and Theater Office in Zagreb,
Manager of the Ministry of Education Concert Office. He owned and played
violas by Matteo Gofriller, Venice, 1769, 40.5 cm, (15 15/16 in.); Franz
Lechner (Vienna), Prague, 39 cm. (15 3/8 in.); Gagliano. Performed viola
recitals of foreign and Yugoslav music, and R. Strauss’s Don Quixote (1952-
3) with Antonio Janigro, cello.

BULJAN, TOMISLAV, b 1934, Nis, Serbia, Yugoslavia. Studied viola
with head viola professor D. Stranic, Zagreb Music Academy, diploma 1961;
graduate work with Pal Lukacs, Budapest, Hungary. Was briefly violist in
orchestras in Koln, BRD, and in Luxemburg. Solo-viola in the Croatian
National Theater Opera Orchestra and Zagreb Philharmonic Orchestra,
1970-. Solo recitals in Zagreb. Owns and plays violas made by Johann

210

The History of the Viola

Fichtel (Mittenwald), 1763, 39 cm. (15 3/8 in.); and Christophor Leidolf
(Vienna), 17??, 40 cm. (16 3/16 in.)

DORIAN, DIMITRIJE (DINO), b 1909, Milano, Italy. He studied at
the Belgrad Music School with J. Zorko, and received a diploma from the
Belgrad Music Academy, 1945, with M. Mihailovic. He was a member of the
Belgrade Opera Orchestra 1930-1970. Solo-viola performances of Baroque
and classic compositions, as well as music by contemporary Yugoslav com¬
posers. He teaches at Mokranjac, and in the Josip Slavenski Music Schools.
He is an important co-worker of “Music Hours (Muzicki Casovi”), organized
by V. Vuckivic at the Kolarcev Narodni Univerzitet (People s University of
Kolarac); a well-known member of chamber ensembles, quartets, and the
former Belgrade Collegium Musicum.

FRANJlC, IVICA, b 1916, d 1980, Zagreb. He received a diploma from
the Zagreb Music Academy 1941, studied with Vaclav Huml. For many
years he was solo viola of the Zagreb Philharmonic Orchestra and the
Croatian National Theater Opera Orchestra in Zagreb. He gave outstanding
performances as solo violist of the Zagreb Soloists Ensemble 1950-69, and
of the Zagreb Symphonic Orchestra, retiring in 1976. He taught at the Pavao
Markovac Music School in Zagreb and at the Ivan Matetic Ronjgov Music
School in Rijeka. He owned and played a viola by Marinus Capicchioni.

HORVAT, LASLO, b 1934, Susak, Croatia, Yugoslavia. Finished study
of viola in 1961 at the Belgrade Music Academy with L. Miranov. Professor
at Isidor Bajic Music School in Novi Sad, and solo viola of Novi Sad Chamber
Orchestra. Now professor of viola in the Novi Sad Academy of Arts. Soloist
and chamber musician, playing many concertos and recitals in the cities of
Vojvodina, Yugoslavia.

IVANOVIC, PETER, b. 1940, Beograd, Serbia, Yugoslavia. Finished
viola study at Beograd Music Academy with B. Pajevic in 1966. Member of
Beograd Philharmonic Orchestra since 1963, intensely engaged in chamber
music, especially in the Beograd Philharmonic Orchestra String Quartet.
Teacher at the Josip Slavenski Music School. Since 1977, lecturer and pro¬
fessor at the Beograd Faculty of the Music Art.

KOSI, MILE, b. 1944, Ljubljana, Slovenia, Yugoslavia. Diploma from
Ljubljana Music Academy, with A. Dermelj. Solo viola of Ljubljana Radio-
Television Symphony Orchestra. In 1978 became a dedicated member of
Basel Chamber Orchestra. Since 1980, member of Koln Giirzenich-
Orchestra. Repertoire of all important works of international and Yugoslav
viola literature. Well known interpreter of wide range of musical literature
and plays with technical perfection. In addition to concerts in Yugoslavia, he
has given many concerts in Germany, Switzerland, Italy, Belgium,
U.S.S.R., and other countries. Has achieved outstanding successes also as a
member of Ljubljana String Trio.

MILETIC, MIROSLAV, b. 1925, Sisak, Croatia, Yugoslavia. Finished

Yugoslavian Violists

211

violin study 1953 at Zagreb Music Academy with Ivan Pinkava, chamber
music with Antonio Janigro. Completed music studies 1957 in Prague, viola
with Ladislav Cerny, composition with Pavel Borkovec. Since 1946 violist of
Zagreb Radio-Television Synphonic Orchestra and Zagreb Philharmonic
Orchestra. Has played viola solos with Zagreb Philharmonic, Frankfurt
Philharmonic, Solvenian Philharmonic, Radio Bratislava Symphony, Lenin¬
grad Chamber Orchestra, and Wiesbaden Chamber Orchestra. Teacher at
Zagreb Pavao Markovac Music School. In 1960 founded the String Quartet
Pro Arte (plays viola), which presented on numerous tours mainly contem¬
porary music of Yugoslav composers, and his own works. Known for viola
recitals, compositions for viola solo, and chamber music with viola. Owns
and plays a viola by Matthias Albani, Bozen, 1709, 39.5 cm. (15 5/8 in.)

MIMOHODEK, IVICA, b. 1933, Osijek, Croatia, Yugoslavia. Studied
at Osijek Music School with J. Kugli; Zagreb Music Academy with M.
Schon. Since 1968 has been a member of Zagreb Soloists under A. Janigro,
at first a violinist, then as violist; and took part in over 2000 performances.
Performed over 70 viola solo concerts, accompanied by the Zagreb Soloists,
in Yugoslavia (Zagreb, Zadar, Nis, etc.) as well as abroad (Buenos Aires,
Barcelona, Sao Paolo, Bogota, Caracas, Bruxelles, Paris, and in the United
States). For his artistic merits he was honored by the Yugoslav Government
with the decoration of the Silver Garland. Owns and plays a viola by Joseph
Klotz, 1795.

MIRANOV, LADISLAV, b. 1900, Holoubkov, Czechoslovakia; d 1988,
Zagreb, Yugoslavia. Studied violin at Zagreb Croatian Music Conservatory
with Vaclav Huml. Teacher at Secondary School of Zagreb Music Academy
1920-57; Professor of Viola at Belgrade Music Academy 1957-61; Professor
of Viola, Methods, and Chamber Music at Zagreb Music Acedemy 1957-71.
One of the founders of the first Zagreb String Quartet, and member of many
chamber ensembles. Solo violist of Zagreb Philharmonic Orchestra. Solo
performances of old viola music, and founder of the Viola Quartet 1940-41.
Author of The Study of the Viola (in two volumes); Method for Violin and
Viola; Editor of many compositions for viola/violin of Yugoslav and foreign
composers. Performed on the Amati viola of the Croatian Music Institution
and his own excellent old Italian viola of unknown origin and date.

PASSAGIO, STEFANO, b. 1921, Borgoratto, Italy. Studied violin at
the Torino (Italy) Conservatory. Since 1946 violist of the Zagreb Radio
Orchestra (later State Symphonic Orchestra, now the Zagreb Philharmonic
Orchestra). Devoting himself to the viola, he achieved high musical capa¬
bilities. Worked two years in Rio de Janeiro, Brazil 1952-54. Returned to
Zagreb to become a member of The Zagreb Soloists and of Radio Zagreb
Chamber Music and the Radio Zagreb Sympnonic Orchestra. Member of
Radio Zagreb String Quartet (Pinkava, Weiland, Passagio, Kiefer). Since
1960 Solo Viola of Radio Berlin Symphonic Orchestra (RIAS). Now, from

212

The History of the Viola

1987-88, also guest professor of the Zagreb Music Academy. Viola recitals of
compositions by B. Bartok, G.F. Handel, J. Chr. Bach, and the Viola Con¬
certo by S. Sulek.

SESTAK, IVAN, b. 1933, Karlovac, Croatia, Yugoslavia. Studied in
Karlovac Music School with Lj. Mocan; Vatroslav Lisinski Music School in
Zagreb with L. Miranov and M. Tarbuk; Ljubljana Music Aacademy with A.
Dermelj. Member of Zagreb Philharmonic Orchestra, 1954-65, Solo Viola
1962-65, also Solo Viola in Bruckner Orchestra, Linz, Austria, 1965-67,
and in the Zagreb Radio-Television Symphonic Orchestra and Chamber
Orchestra. Performances in Yugoslavia and abroad with Zagreb Piano Sex¬
tet. Owns and plays a viola by Joseph Stadlmann, Vienna, 1773.

SESTAK, TOMISLAV (brother of Ivan), b. 1931, Karlovac, Croatia,
Yugoslavia. Finished study of violin and viola at Zagreb Music Academy with
M. Schon, 1957. Member of Zagreb String Quartet and the Zagreb Soloists;
Concertmaster of the Radio-Zagreb Chamber Orchestra, the Yugoslav
Radio-Diffusion Symphonic Orchestra, and the Zagreb Philharmonic
Orchestra. Solo Viola 1965 in Linz, Austria, and then in Wiener Sympho-
niker (Vienna Symphonic Orchestra) and member of the Weiner Streichtrio
(Vienna String Trio). He won the Croation Musical Institution Vaclav Huml
Prize. He now is giving successful viola recitals. He owns and plays a viola
by Enrico Cerutti, Cremona 18??.

STRAHULJAK, ZLATKO, b 1933, Zagreb. He studied in Zagreb, and
postgraduate courses with Ladislav Cerny in Prague. An orchestral and
chamber musician, and music critic. He is solo viola of the Zagreb Croatian
National Theater Opera Orchestra. He is a teacher at the Blagoje Bersa
Music School; Lecturer and Professor in the Music Academies in Ljubljana,
Zagreb, and Beograd. He has taught Master Classes at Spohr Acadamie in
Lahr, Germany; Beijing, China; Lancut, Poland; and at the 1988 Lionel
Tertis Competition on the Isle of Man. He served in 1987 on juries of violin
making at the International Jacobus Stainer Competition in Freiburg, Ger¬
many; and at the International Violin-Viola Competition in Sofia, Bulgaria.
He has be a jury member of seven international viola competitions. Since
1977 he has been secretary of the “Vaclav Huml” International Violin Com¬
petition of the Croation Musical Institution. He has written method books
and The Biography of Vaclav Huml, and writes critiques for Yugoslav peri¬
odicals. He has been a member of the Yugoslav Lexicographical Academy
since 1978. He has given performances in the major cities of Yugoslavia; in
Bulgaria as a member of the Croatian National Theater Piano Quartet; as
soloist of the Beograd Pro Musica Chamber Orchestra; and the Zagreb
Gaudeamus Ensamble. He owns and plays a viola by Johann Georg Thir,
Vienna, 17??, 41 cm., (16 1/8 in.).

STRANIC, DUS AN, b. 1927, Zagreb, Croatia, Yugoslavia. Studied vi¬
ola at the Zagreb Music Academy. Member of Radio-Zagreb Orchestra and

Yugoslavian Violists

213

Zagreb Philharmonic Orchestra. For many years member of the Zagreb
String Quartet and of the Zagreb Soloists. Solo viola of the Zagreb Philhar¬
monic Orchestra 1957-68. First Professor of Viola as a separate subject of
study at the Zagreb Music Academy. Solo viola in recitals, and performances
of the Zagreb Soloists.

SVECENSKI (KOHN), LUIS (LOUIS), b. 1862, Osijek, Croatia,
Yugoslavia; d. 1926, New York City. Studied violin in Osijek and Zagreb,
and then in Vienna with Jacob Grun and Joseph Hellmesberger, Jr. He
moved to the USA to become a member of the Boston Symphony, 1885-
1903. Violist of Kneisel String Quartet, 1886-1917. Professor of Music at the
Institute of Musical Art in New York City; Vice-president of the Beethoven
Association; and Member of the Board of the New York Musician s Club. He
wrote, arranged, edited, and transcribed works for the viola including an
early edition of the Bach Suites for Violoncello, and his own 25 Technical
Exercises for Viola.

THUNE, DANIJEL, b. 1932, Zagreb, Croatia, Yugoslavia. Studied
violin at the Zagreb Music Academy with V. Huml and I. Pinkava, and viola
at the Ljubljana Music Academy with A. Dermelj, where he received his
viola diploma 1962. Viola in Croatian National Theater Opera Orchestra
1956-71, the Zagreb Soloists 1956-71, the Zagreb String Quartet 1965-68,
and the Ensemble ACEZANTEZ (Ansambl Centra za nove tendencije
Zagreb, Ensemble of the Center for New Tendencies of Zagreb) 1973-,
which plays avant garde music. Professor of Music at the Zagreb Music
Academy, and has taught a number of young violists. He is also a conductor.

ZALOKAR, SRECKO, b. 1917, Slivnica/Maribor, Slovenia, Yugosla¬
via. Studied at the Ljubljana State Conservatory. For many years solo viola
of the Slovenian Philharmonic Orchestra; now in the Slovenian National
Theater Opera Orchestra in Maribor. As Viola Soloist, he has performed and
recorded with the Slovenian Orchestras nearly the whole Slovenian viola
literature, and has played in various chamber ensembles, and has performed
many Slovenian viola composition premiers.

ZIVKOVIC, ANTE, b. 1938, Sibenik, Croatia, Yugoslavia. Studied vi¬
ola at Zagreb Music Acedemy with D. Stranic, 1965. Chamber and orchestra
violist. Since 1968 in Zagreb Quartet; sometimes he was violist in Radio-
Zagreb Symphonic Orchestra, and the Zagreb Soloists. Performs Viola Solo
recitals.

CHAPTER XVII

THE CZECHOSLOVAKIA
VIOLA SCHOOL

Contributed by
Tully Potter
of

Billericay, Essex, England

Tully Potter, the author of this Chapter, was born in Edinburgh, Scotland, in 1942. In
1948 his family moved to South Africa, where he was enrolled in several schools, includ¬
ing Michaelhouse in Natal. Later, after one year of University life, he became a journalist
for several South African papers. In 1966 he returned to Great Britain where he has
become well-known as a writer of poems, light verse, articles, essays, discourses, short
stories, interviews, humorous columns, and critiques of musical concerts. He is a frequent
contributor of articles to The Strad Magazine and to The Newsletter of the British Viola
Society. He is the author of the very significant biography of the composer, famed
chamber music performer, and violin virtuoso, Adolph Busch (1984).

Potters writings frequently show more than a passing interest in the viola, which
amounts almost to an addiction. He explains this love for the viola as resulting from being
an avid listener to the phonograph recordings of the late William Primrose. He enjoyed,
and still does, he explains, listening to string quartets also — both on records and in live
performances. From 1967 the Smetana String Quartet had a particular influence on his
predilection for the viola, and especially for Czech violists, and Czech viola music.

Potters devotion to the viola has been demonstrated by his contribution to the
success of the International Tertis Viola Competitions and Workshops held at Port Erin
on the Isle of Man in 1980, 1984, and 1988. At the Workshops he gave lectures illustrated
with vintage viola recordings; and also took a role in the day-to-day activities by helping
to publish The Daily Bratsche, a small tabloid which contained important information
and humorous commentaries on the daily events.

Along with all his activities Potters interest in Czech viola music kept surfacing. He
shared an article he had written in 1982, “ Czech Viola Virtuosi”, with the author of The
History of the Viola. This article is included in the Italian translation, Storia della Viola
(1983) in a chapter entitled, “La Scola Ceca di Viola” (The Czech Viola School). A related
article, “The Czech Viola Virtuosi,” appeared in The Yearbook of the International Viola
Society 1983/84. The present chapter, “The Czechslovakia Viola School,” represents a
continuation of Potters exhaustive research. All of the photographs appearing in this
chapter were furnished by Potter, of which several are specifically identified by the name
of the photographer or donor. Collecting these photographs represents a labor of love.

In the following Chapter Potter brings recognition, long overdue, to the very im¬
portant contributions made to the viola and to the world of music by the Czech Viola
School.

M.W.R.

214

The Czechoslovakia Viola School

215

o country has a greater tradition of string playing — and in particular,
quartet playing — than Bohemia. So it is no coincidence that this proud
nation produced the first great modern music for the viola and the first great
modern violist, and that both made their impact on virtually the same gen¬
eration. The music was Smetana’s String Quartet in E minor, From My Life,
first heard at a private soiree in April 1878. The man was Oskar Nedbal, who
was born almost three years before Lionel Tertis and was already five when
the fateful opening fanfare of Smetana’s quartet — destined to change the
musical world’s view of the viola — was first played in public. His emergence
as a violist in the early 1890s was inextricably linked with this masterpiece,
which he and his colleagues in the Bohemian Quartet did so much to pop¬
ularise.

Thanks to Smetana, Dvorak and Nedbal, the viola’s renaissance was
well established in Bohemia before the turn of the century, when Tertis in
England was only just beginning his great life’s work. One of the finest
poems by the short-lived Czech writer Karel Hlavacek (1874-1898) evoked
the special qualities of the viola as no one has done since; and perhaps it was
the playing of his exact contemporary Nedbal which inspired him. The viola
d’amore, that Cinderella of Cinderellas, also had a wider currency in this
part of Europe than anywhere else, never really going out of favour.

Even in baroque and classical times, excellent violists emerged from the
area now known as Czechoslovakia, which takes in Moravia and Slovakia as
well as Bohemia — this chapter will group artists from these ancient lands
together, while trying to do justice to their special regional qualities. One of
the first to distinguish himself on the viola was the Moravian Gottfried
Finger (died 1730), who took an active part in London’s musical life in the
late 17th and early 18th centuries, before moving to Germany. Dismas Vojta
(Woita) (died 1701) wrote a Parthia Amabilis in 1680 for viola d’amore and
other instruments. The contemporaries Jan Krumlovsky (1719-1763) and
Ignac Hracek (Ireneus Hraczek) (1722-1774) were viola d’amore virtuosi
who composed for their instrument — the latter followed Vivaldi in being in
holy orders; though unlike the Red Priest, he paid due attention to his
religious duties and was a prominent friar in Vienna. Another priest,
Adalbert Dussek (Dusik) is recorded as playing the viola d’amore in Prague
in the 1740s, in consort with the gamba player Vaclav Petrik. The violist and
pianist Frantisek Kocvara (died 1791) was known in Dublin and London;
Stepan Klop worked in Germany; and Frantisek Gotz (1755-c. 1800), from
Moravia, played violin and viola well enough to compose concerti for both.

The most celebrated Czech violist of classical times, Karel Stamic (Carl
Stamitz) (1745-1801), was born in Mannheim but trained in the Prague
tradition, first by his father the violinist, composer and orchestral leader Jan
(Johann) (1717-1757) and then by Frantisek (Franz) Xaver Richter. Like his

216

The History of the Viola

father, Karel also played the viola d’amore and wrote chamber music for it.
He and his brother Antonin (Anton) wrote extensively for the viola; besides
the well-known Concerto in D, Karel composed a sinfonia concertante for
violin and viola and one for violin, viola and cello, while Antonin contributed
three concerti. Frantisek (Franz) Benda (1709-1786) played viola and viola
d’amore, writing a Sonata in A for the latter; and his brother Jin (Georg)
wrote a viola concerto, as did Jan (Johann) Vanhal, who played violin, viola
d’amore — being especially interested in its tuning — and cello; Josef Rejcha
(Reicha), uncle of the better-known Antonin; and Antonin Vranicky, the
latter’s being for two violas. Chamber works by Czech composers of the
Classical era sometimes exploited the dark sound of two violas, especially
when combining a wind instrument with a string ensemble. The viola
d’amore was taught to a high standard by Robert Ganswind (1772-1833),
who wrote a concerto for it; his pupils included Jan Josef Eberle, Frantisek
Richter and Jin Tolis.

Czech Luthiers

Prague, nursery of string players from time immemorial, was naturally
a centre of instrument making; and Bohemian or Moravian craftsmen could
be found in German and Italian workshops. In most cases, the old Czech
masters are valued today more for their violas and violas d’amore than for
their violins or cellos. The native industry was given a major boost by the
arrival in Prague of such men as Thomas Edlinger II (1662-1729) from
Augsburg; Johann Georg Hellmer (1687-1770) from Upper Bavaria; and
Johann Ulrich Eberle (1699-1768) from the Tyrol — the latter two were pu¬
pils of Edlinger and both established dynasties of luthiers. Eberle’s pupil
Thomas Andreas Hulinzky (1731-1788) taught the outstanding viola maker
Kaspar Strnad (1752-1823). He in turn taught Emanuel Adam Homolka
(1796-1849), who worked at Velvary and was the father of Ferdinand August
Vincenc Homolka (1828-1890), known as The Prague Stradivari. The
Metelka family, especially Josef II who worked at Sklenarice, made fine
violas, as did the Spidlen family who are still active. Anton Sitt (1819-1878),
born in Hungary, fathered not only some lovely instruments but also a great
violinist and violist. Today excellent violas are made by Premysl Otakar
Spidlen, Tomas Pilar, Premysl Herclik (all members of luthier dynasties) and
Karel Zadrazil. As for the viola d’amore, notable 18th-century Czech makers
included Eberle (some 300 specimens, according to Harry Danks), Hellmer
and Hulinzky, with instruments of lesser quality being created by Josef
Antonin Laske (1738-1805) and members of the Rauch clan. Jan Kulik
(1800-1872) made good violas but his few violas d’amore were not outstand¬
ing, according to Danks.

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217

The Modern Czech Viola School

The modern Czech viola school grew from the tradition of quartet
playing founded in Prague by the violinist Bedrich (Friedrich) Pixis the
younger (1786-1842), who had studied with Viotti. Born like Karel Stamic in
Mannheim, he came to Prague, the city of his fathers, in 1807 as leader of
the orchestra and was violin professor at the Conservatoire from 1811. His
pupil Moric Mildner (1812-1865) took over from him as the city’s predom¬
inant chamber music player — the viola in the Pixis/Mildner Quartet was
played first by Machacek and then by Vincenc Bartak (1797-1861). Another
Pixis pupil, the violinist and composer Jan Kaliwoda (1801-1866), enjoyed
playing the viola enough to compose some beautiful pieces for it. Jan Krai
(1823-1912) was solo viola of the Prague Opera and wrote a tutor and various
compositions for the viola d’amore. Rudolf Slavik (1823-1880), younger
brother of the celebrated violinist Josef, not only excelled on the viola
d’amore but also played viola in the family quartet, with his father and
brothers; his viola d’amore compositions remained in Russia, where he led
the orchestra of the Imperial Opera. Mildner’s pupils who played the viola
included Jindrich Unger and two notable expatriate violinists of the late 19th
century: Jan (Hanus, Hans) Sitt (1850-1922), violist in the first Brodsky
Quartet, at Leipzig, and author of two concertos and a teaching method for
the viola; and Emanuel Wirth (1842-1923), who played viola in the Joachim
Quartet in addition to his activities as violin soloist, conductor and peda¬
gogue.

All those mentioned so far were violinists who could turn their hands to
the viola when required, especially in chamber ensembles; and since 19th-
century quartets were very much dominated by their leaders, we can as¬
sume that most of these violists made a wretched sound by today’s standards.
Things really started improving in Prague when Mildner’s pupil Antonin
Bennewitz (Benevic) came on to the scene. A successful pedagogue himself,
Bennewitz (1833-1926) played second violin in Mildner’s quartet and on his
teacher’s death in 1865, took over not only his professorship at the Prague
Conservatoire but also his unofficial position as the city’s chamber music
leader. In 1876 he was one of the founders ol the Chamber Music Associa¬
tion, which was to give so much inspiration to Czech composers and per¬
formers to create a national style.

Ironically the work which brought Bohemian chamber music and the
viola to a new peak was rejected by the Association; which explains why
Smetana’s Quartet had to wait a year for its first public airing, even after it
had been auditioned in private. Begun in October 1876 as a direct response
to the founding of the Association, the work was completed by the end of the
year but was considered too advanced, musically and technically, and too
“orchestral ”. It certainly presented the viola in a totally fresh light. Never

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The History of the Viola

had the hitherto humble instrument been elevated to such eminence in a
piece of chamber music, or been forced to carry such a weight of utterance.
Bearing in mind how slow to speak even a modern viola can be, one wonders
how the gut-strung instruments of the day — let alone the players — could do
justice to Smetana s demands. It was some time before anyone tried, and
then the viola s call to attention, that searing, doom-laden opening fanfare,
was played by none other than Antonin Dvorak, in the apartment of the
music-loving Josef Srb-Debrnov in April 1878. Dvorak had been principal
viola in the National Theatre Orchestra from its foundation in 1862 until
1873; but by then he was only an occasional violist. His main contribution to
the instrument was to write so many lovely melodies for it — including the
opening of his F major Quartet, clearly influenced by Smetana s. His char¬
acterful instrument, made by F.A. V. Homolka in 1859, is still in use and can
be heard in a number of recordings.

In March 1879 the Quartet From My Life finally reached the public,
with the violinist Josef Krehan taking the viola part. From all accounts he
was an excellent musician, like the Chamber Music Association’s regular
violist Petr Mares, but again one wonders what these worthies (or even
Dvorak) made of the music. As the deaf Beethoven had set seemingly im¬
possible challenges to his musicians, so Smetana under the same handicap
had gone beyond acceptable limits; but, as so often happens, the answer to
his demands was not long in coming. In 1882 Bennewitz was made director
of the Conservatoire and started putting into practice his enthusiasm for
chamber music, aided and abetted from 1888 by Hanus Wihan (Vyhan), who
was brought on to the staff as cello professor but was chamber music pro¬
fessor in all but name. Wihan encouraged three of Bennewitz’s pupils and
one of his own to form the Bohemian Quartet, which gave its first public
concert in 1892; and due to the fatal illness of his protege Otto Berger
(1873-1897), he himself took over the cello part in 1896. The violist was a
big, broad-shouldered young man with a beaky nose and wavy hair — which
he was already losing — called Oskar Nedbal.

Just as the modern quartet style began with the Bohemian Quartet, the
first ensemble of true equals, so the viola’s renaissance began with Nedbal.
Born into a musical family on 26 March, 1874, at Tabor in South Bohemia,
as a child he played piano and violin, the latter under the local teacher
Endler; and by 1885 he was ready for the Prague Conservatoire. Initially
Nedbal was rejected for the violin class, so took up first the trumpet and then
percussion — he became conversant with every instrument in the orchestra
and was later invited to play the timpani at Bayreuth. He also studied
composition and conducting; and in due course he gravitated to Bennewitz’s
violin class. Being so big and powerful, he was encouraged to play the viola;
in 1890 he took part in a public performance of the Schumann Piano Quartet
with two of his future colleagues, violin virtuoso Karel Hoffman (1872-1936)

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219

and cellist Berger. In this first year of study he had already made friends
with the fourth future Bohemian, violinist and composer Josef Suk (1874—
1935).

The two young men’s composition teacher, Karel Stecker, ensured that
when Dvorak took over the main class in composition and instrumentation at
the Prague Conservatoire in January 1891, Suk and Nedbal were among his
pupils; considered the pick of the bunch, they became very close to the
master — Suk was later his son-in-law, while Nedbal developed into his fa¬
vourite interpreter as conductor of the Czech Philharmonic from 1896 to
1906, and did more than anyone to popularise the New World Symphony.
The relationship had its ups and downs — in his Reminiscences, the violinist
and violist Josef Jan Kovank mentions an interlude at Dvorak’s country
home: “The quiet tenor of life at Vysoka was considerably enlivened by the
arrival on a visit of Oskar Nedbal and Josef Suk . . . Nedbal especially was
up to all sorts of pranks, which sometimes made the master very angry.’’ On
one occasion Nedbal, after a night on the tiles, crept rather hung-over into
Dvorak’s class and lay low in a corner. Dvorak went round the room, asking
how a particular piano piece should be orchestrated, eventually coming to
Nedbal — who replied rather grumpily that he wouldn’t do anything with it,
in fact he would throw it away. A delighted Dvorak told the class that this
was exactly the answer he was looking for, as the piece was quite unsuitable
for orchestration!

At the end of the 1891-92 term Nedbal graduated as a violinist — while
continuing composition studies — with Paganini’s D major Concerto. How¬
ever, he must have realised he could never be a violin virtuoso, with all his
other interests, and he gladly switched to the viola, though he was still
composing music for the higher instrument (a pleasant Sonata, as well as
shorter pieces). In November 1892 the Bohemian Quartet gave their first
public performance, of Smetana’s E minor Quartet, in a mixed concert. In
spite of their closeness to Dvorak — they played all his chamber music and
premiered the G major Quartet — Smetana’s work became their calling card;
and this was largely due to Nedbal. A huge man who towered over his
colleagues, he handled the viola like a toy and made an indelible impression
on his contemporaries.

“Listening to Nedbal, with his powerful bowing sustaining the viola’s
leading voice in the opening of Smetana’s Quartet, From My Life,” wrote
Paul Stefan, “you could see the forest, the fields, the village with its people,
the geese on the pond, the peasant children, the organist, the school
teacher, the priest, the authorities, the gentry — all that early world of a
lovable, unspoiled people. ’’ In his Memoirs, Carl Flesch gave a vivid portrait
of the Bohemian Quartet, calling Nedbal “the giant of the viola’’ and saying
that “when Nedbal took the lead at the beginning of Smetana’s First String
Quartet, From My Life, one thought one was hearing real viola playing for

220

The History of the Viola

the first time. ” In 1897 the ensemble made the first of many visits to Britain
and Sir Arnold Bax recalled: “I can still see Oskar Nedbal turning right
round to face and audience, while his sonorous viola announced the opening
phrase of Aus Meinem Leben.” And Eric Coates, himself later a professional
violist, wrote: “I remember the thrill I experienced when the viola player,
Oskar Nedbal, turned over the first two pages of his part and deliberately
faced the audience to deliver himself of the dramatic first theme. ”

At first Nedbal used a 1768 Matteo Goffriller viola but eventually he
acquired a Giuseppe Guarneri “filius Andreae ”. By the early 1890s he was
playing Rubinstein’s Viola Sonata; and he gave many performances of
Mozart’s Sinfonia Concertante, first with Hoffman and later with Kubelik
and Huberman. He was much admired in Berlioz’s Harold in Italy. Ladislav
Novak wrote of the playing of “King Viola” that it was distinguished by
“geniality, not just because of his breathtaking ability to handle his instru¬
ment on the technical side, but especially because of his musical perfor¬
mance which was entirely thoughtful, uplifting the viola to unlimited heights
as a chamber instrument as well as a solo one.” In those words “geniality”
and “thoughtful” we may sense the tensions in the personality of Nedbal, a
man of infinite talent who was destined never to fulfil himself.

In 1903 his wife died after a long illness. Nedbal threw himself into his
work and by 1906 was at the peak of his profession, a member of the world’s
most illustrious chamber ensemble, conductor of the Czech Philharmonic
for a decade and a successful composer in a light vein. Then, just when the
Bohemian Quartet were due to tour England, he ran off to Egypt with the
wife of his leader Hoffman. The couple were very happy together but
Nedbal’s career in Bohemia was virtually ended — though from 1909 he re¬
turned for the occasional concert. He went to Vienna, where he became a
great favourite until anti-Czech feeling forced him out in 1919; there he
conducted the Tonkiinstlerorchester and became well known as an operetta
composer; his masterpiece in tiiis genre is Polenblut. His delightful ballet
The Tale of a Simple Johnny is still played in Czechoslovakia; its Valse Triste
is superior to Sibelius’s similar work in both melody and scoring — Nedbal
was a master of orchestration. In 1920, after suffering the rigours of keeping
music alive in wartime Vienna and being ousted for his pains, he returned
to his native land as conductor of the Sak Philharmonic — but was not ap¬
preciated in the fervent nationalist atmosphere of the new Czechoslovakia,
where he was regarded as a Johnny-come-lately from the hated Vienna! He
moved to Bratislava in 1923 as head of the new Slovak National Theatre, also
directing the music for the radio station and teaching at the University and
the Academy of Music. On Christmas Eve, 1930, racked by illness and
overwork, he committed suicide in Zagreb. He was only 56.

Nedbal was too many-sided a musician to be restricted to the viola; and
the break with the Quartet would have come sooner or later. But his

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221

contribution to the instrument’s rebirth should not be forgotten. Even after
decamping to Vienna, he sometimes took out his viola; and he participated
in at least two recording sessions between October 1910 and January 1911.
Viola records have never sold well and Nedbal’s are extremely rare — one
which turns up occasionally is a coupling of his own Romantic Piece with a
transcription of Schubert’s song Du Dist die Ruh. As we would expect, these
precious documents show a powerful, assured player of the old school, using
gut strings, barely any vibrato and much portamento. One wishes he had
recorded more widely — acoustic studio conditions were so horrendous that
most musicians took time to get accustomed to playing into the recording
horn. How much allowance must we make in Nedbal’s case for nervousness
and the alien surroundings of the cold, clinical studio? At least we have a
smattering of his artistry preserved.

Three times he performed Mozart’s Sinfonia Concertante in Vienna, in
1909 with Kubelik and in 1914 and 1918 with Huber man. He also played
chamber music in public and in private, as we know from contemporary
accounts — and from the photograph reproduced in Flesch’s Memoirs, show¬
ing a celebrity piano quintet seated among a fashionably gowned and dinner-
jacketed throng at a Viennese soiree. Ysaye is the first violinist, Flesch the
second, Griinfeld the pianist and Buxbaum the cellist. At the far right sits an
impassive Nedbal, bow in hand and massive viola resting on left thigh —
looking as if he would rather be making music than facing the camera. He
was the only violist in the world capable of matching Ysaye’s power at that
time. I would give anything to be transported back to hear that ensemble —
or the original Bohemian Quartet, who in Flesch’s words “fiddled miracu¬
lously, with unheard-of intensity, freshness and technical perfection .
here for the first time one heard ensemble playing by four congenial indi¬
vidualities who were on the same technical level”. Because Nedbal’s career
as a full-time violist lasted only 14 years, his exploits have been obscured by
those of Tertis, Primrose, Vieux and in his own country, Cerny. But his
place in the history of the viola is clear. Today he is remembered first as a
conductor and then as a composer; but those who heard him, were in no
doubt that they were listening to the greatest violist of all time.

His immediate replacement in the Bohemian Quartet was Tertis, who
took over at short notice for the British tour and left an entertaining account
in his memoirs. However Nedbal’s permanent successor was the violinist Jiri
Herold (1875-1934), who gave up the leadership of the Czech Philharmonic
and his own Herold Quartet — in which the violist was Oldrich Vavra (1879-
1957), a Sevcik pupil later celebrated as a violin and viola teacher — to join
the Bohemians. Herold developed into a magnificent violist, as is evident
from the ensemble’s recordings, made in the late 1920s, by which time they
went under the more nationalistic name of Czech Quartet. They recorded
both works by Smetana, the Dvorak F major (twice) and single movements

222

The History of the Viola

from his D minor and E flat Quartets, as well as the Meditation and First
Quartet by their second fiddle Josef Suk — himself an occasional violist. The
bearded, leonine Herold cut an impressive figure and his more equable
temperament apparently fitted in better with his colleagues than the volatile
moods of Nedbal. In his spare time, Herold liked to make and repair in¬
struments, a skill which proved invaluable when the Bohemians suffered
mishaps on tour. Altogether 55 of his fiddles are known — 43 violins, 10 violas
and 2 cellos — and I am told they sound quite well, though none of them is
in professional use. As a player, Herold was a consolidator of the best of the
19th-century school, using gut strings to the end of his days and therefore
making little or no use of vibrato. Like Nedbal’s, his recordings must be
heard with ears cleansed of modernism — and with due allowance made for
the frailty which crept into the Bohemians’ ensemble with advancing years.
Any lapses in intonation were ruthlessly exposed by their old-fashioned
technique, yet they still played with the “great deal of vim and abandon’’
noted by Henry C. Lahee a quarter of a century earlier. The Smetana E
minor and Suk B flat major have been re-issued on an American LP
(Parnassus 1001) and give unique glimpses into the twilight of the Romantic
era. Jin Herold’s perfectly judged portamenti, his pure cantilena, his hearty
attack, testing the slacker gut strings to the utmost . . . these can be savoured
along with the warmth of his personality. As a professor of chamber music at
the Prague Conservatoire from 1922, he had a wide influence, passing on
what he had learnt from his own teachers Lachner and Bennewitz; and his
compositions for viola included a Gipsy Melody and a Ballade, as well as a
useful set of studies.

From the same generation came Rudolf Reissig (1874-1939), best re¬
membered as a teacher in Moravia and later Prague, but from all accounts an
impressive player of the viola and viola d’amore. He was also a conductor
and one of Dvorak’s composition pupils, though I am not aware of any works
for viola. Otakar Macha (1872-1924) was principal violist of the National
Theatre, taught the instrument at the Prague Conservatoire, also played the
viola d’amore and occasionally joined the Bohemian Quartet as second vio¬
list — as did the fine violinist Charles (Karel) Rychlik, a Bennewitz pupil and
another alumnus of Dvorak’s composition class; he wrote a duo for violin and
viola. Like so many Czech musicians, Rychlik emigrated to America; and
that country also claimed Karel Ondncek, younger brother of the great
Frantisek. Karel (1863-1943), basically a violinist, was a notable interpreter
of Harold in Italy. Josef Jan Kovank (1870-1951) was born in America, of
Czech parents, but studied in Prague and achieved a footnote in musical
history through his association with Dvorak in the New World. He took
the composer to his home town of Spillville, a Czech community in
which Dvorak spent his happiest American sojourn and wrote his F major
Quartet and E flat Quintet. Kovank was principal viola in the New York

The Czechoslovakia Viola School

223

Philharmonic from 1910 to 1926, then a member of the section for a further
decade. Among his pupils was Harold Coletta.

The teaching of Otakar Sevcik, himself a pupil of Bennewitz, was the
next means by which the standard of viola virtuosity in Prague was im¬
proved; and inevitably the next outstanding violist to emerge was a disciple
of the great man. Karel Moravec (1880-1959) was born only six years after
Nedbal and five after Herold, but was already of the next generation. In 1901
he helped to found the Sevcik-Lhotsky Quartet, named partly after the
teacher of three of its members, and partly after its leader. In a career of
almost three decades, this superb ensemble made a point of playing Czech
works on its tours and recorded Smetana s From My Life and Dvorak’s
American and two Waltzes, before the premature death of Bohuslav Lhotsky
in 1930 caused its disbandment. Moravec, whose most notable feat was to
play the Dvorak Cello Concerto on the viola, went on to become influential
as a viola teacher and a chamber music coach; and he made solo recordings —
a suite by Foerster and a Notturno by Kalivoda — as well as playing second
viola in the Ondricek Quartet’s recording of Dvorak’s E flat Quintet. His
three books of viola studies were published by Supraphon. Another Sevcik
alumnus, the all-round musician Frantisek Stupka (1879-1965) — conductor,
violinist and quartet player — knew the viola well enough to teach it at the
Prague Conservatoire for six years.

The contemporaries Vaclav Talich (1883-1961) and Karel Liska (1883-
1935) studied under Jan Marak, but Talich — the greatest Czech conductor of
his time — also learnt from Sevcik. Liska played viola in an early quartet led
by Talich and reverted to the instrument many times during his career as a
violinist — he played second viola with both the Bohemian and Sevcik-
Lhotsky Quartets. Talich always said he learnt more about music from re¬
hearsing as second violist with the Bohemians than from any other activity.
Vlastimil Stach (1885-1961) was another occasional violist, principally in the
Suk String Trio; and he compiled two valuable monographs, Czech Violists
and The Thematic Catalogue of Czech Viola Literature, both in the Czech
Music Fund archives.

But the genius of the second generation of Czech viola virtuosi was the
inimitable Ladislav Cerny (1891-1975), a contemporary of Busch and Szigeti
and worthy to be bracketed with them. A man of Falstaffian girth and per¬
sonality, Cerny was not just the most interesting Czech instrumentalist of his
time; he was also cook, wine connoissuer, humorist — and above all, teacher
and chamber music guru. Schooled in the Sevcik method by the master’s
assistant Bastar, he started as a violinist; but after World War I he became
fascinated by the viola and from then on, devoted his considerable being to
playing and propagating it. In 1920 he was one of four Czechs working in
Lubljana, Yugoslavia, who founded the ensemble called first the Zika and
then the Prague Quartet; during World War II, when the occupying

224

The History of the Viola

Plate 80. Ladislav Cerny (1891-1975), Virtuoso Violist, Chamber Musician, Pedagogue,
and Propagandist for the Viola, playing his large G. B. Grancino Viola.

The Czechoslovakia Viola School

225

Plate 81. Oskar Nedbal (1874-1930), Composer, Conductor, Virtuoso Violist.

Germans forbade nationalistic titles, it was known as Cerny’s Quartet. Many
great Czech string players cut their teeth in it, including Richard and
Ladislav Zika, Willibald Schweyda, Milos Sadlo, Ivan Vectomov, Alexander
Plocek, Josef Simandl, Josef Suk II and Bretislav Novotny; the inner parts
were played consistently by Herbert Berger and Cerny and throughout its
chequered career, the group reflected Cerny’s musical insights. “He really
turned towards the public to play his solos,” recalls the violin teacher

226

The History of the Viola

Plate 82. Original Bohemian (Czech) Quartet (left to right): Hoffman, Oskar Nedbal,
Berger, Suk.

The Czechoslovakia Viola School

227

Plate 83. Dr. Milan Skampa (1928—) (R), at the first Lionel Tertis International Viola
Competition, Isle of Man, 1980, with John White, English Violist and Professor of Viola.

228

The History of the Viola

Plate 84. The Smetana Quartet (left to right): Jin Novak, Lubomir Kostecy, Antonin
Kohout, Milan Skampa.

Jaroslav Vanecek. “When he had a solo, everybody in the hall was aware of
it, because there came such an unexpected tone. One forgot about the other
three players.” The Prague Quartet s recordings — three works by Dvorak
and one each by Smetana, Janacek, Brahms and Schumann — preserve his
ideas for posterity.

Purely as propagandist for his instrument and inspirer of new compo¬
sitions for it, Cerny ranks with Tertis; while his contribution to Czech mus-
cial affairs, over six decades, is inestimable. Always ready to tackle new
music, to the end of his long life, and encouraging his pupils to take similar
risks, he was equally at home in Baroque, Romantic or Classical styles.
Cerny was a transitional figure in the history of string playing, harking back
to the days of gut strings when little or no vibrato was used — with him,
vibrato was simply one of a number of expressive devices. This does not
endear him to some players of the British or American traditions; but it made
a great impact on Paul Hindemith, who was of a similar disposition. The two
met in 1922 at the Donaueschingen Festival and were firm friends from that
day. Hindemith considered Cerny the ideal exponent of his music and ded¬
icated the solo viola Sonata Op. 25 No. 1 to him — the work owed much to
Cerny’s advice. Luckily at least two recordings have survived, the earlier
dating from the late 1950s when Cerny was still in full vigour.

The Czechoslovakia Viola School

229

Plate 85. Jin Herold (1875-1931), Virtuoso Violist of the Bohemian (Czech) Quartet, also
Quartet Leader, Pedagogue, and Amateur Luthier.

A book could be written about Cerny and two short ones already have
been, in Czech by Jan Smolik (Supraphon) and in English by Ishaq Arazi
(published by the author). A chapter on Cerny, again by Arazi, appears in
Book Ten of The Way They Play (Paganiniana), in which the manuscript of
the Hindemith solo Sonata is reproduced with Cerny’s markings, sanctioned
by the composer. Cerny has left enough of his vast repertoire on record,
over a 40-year span, for us to appreciate his greatness as player and in¬
terpreter. Of the solo works, I particularly commend his view of Harold in
Italy, with the inwardness of the character fully realised: the various

230

The History of the Viola

Plate 86. Bohemian (Czech) Quartet: Karel Hoffman, Josef Suk, Jin Herold, Ladislav
Zelenka.

Hindemith works; Britten’s Lachrymae, in which the appearance of the
theme at the end has an unparallelled poignancy; the Bloch Suite, recorded
twice; and Reger’s G minor solo Suite, taped in 1968, a spellbinding inter-

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231

Plate 87. Lubomir Maly (1938—), Viola Soloist and Member of City of Prague Quartet.

232

The History of the Viola

Plate 88. Hubert Simacek (1912-), Viola Soloist and Chamber Musician.

pretation. All these date from Cerny’s 60s, 70s or 80s; and by the time he
recorded the Hummel Sonata, in 1974, his tone was a mere thread of sound.
In later years he played seated and, like Hindemith, tended to rest the
heavy instrument on his huge paunch — which gave his downward shifts an
individual flavour, to say the least! But he accommodated his technique to
his physical disabilities; and when his hands were so hammered by taking his
vast weight on two walking sticks that his writing became quite shaky, he
still played in tune.

Cerny’s pupils will tell you that while his emendations to scores were all
right for him, they did not work for everyone; but he communicated a rare
spirit of adventure — and musical values always came first with him. “He
would not stand for mediocre, bland musicmaking,” says his pupil James
Durrant. “He was the greatest musician I’ve ever come into contact with — I
learnt more from him in five minutes than I’ve learnt from anyone else in
years. ” Lessons were enlivened by jokes, especially puns — “This piece must
be made more black,” he told the young Karel Dolezal ( cerny means black).
Durrant, who was in his 30s and leader of an orchestral section when he
came to Prague from Scotland to study, was astonished to find himself being
shouted at when he did something wrong, but quickly adjusted. “If he
wanted to shout, he would shout — I loved it.” Alistair Beattie, also from
Scotland, found that Cerny had “quite a bite to his tongue when necessary —

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Plate 89. Josef Suk (1929-), Violinist and Violist.

but when you played badly, he didn’t have to say anything, you just felt this
crushing disapproval.” All his pupils discovered that his approach to the
actual teaching was entirely different for each; while Cerny adhered to much
of Sevcfk’s method and used his exercises, he tried to suit his lessons to the
needs of the individual. When Dolezal rejected his suggested fingerings for
a piece, he remarked: “I am glad you are not my epigone.” He tried to see
the good in everyone. Beattie took him to hear Frederick Riddle play the

234

The History of the Viola

Plate 90. Karel Spelina (1936-), Czech Philharmonic Orchestra.

Walton Concerto with the Royal Philharmonic, who were visiting Prague.
“It was not the way he saw the music, but he was too generous to say so.”
Cerny’s viola, an anonymous German instrument once thought to be by
Grancino, is now played by Josef Suk, while his favourite bow is owned by
Milan Skampa. Prior to acquiring the “Grancino”, he played a Maggini
which Vanecek recalls “was full of woodworm, but he cherished it.”

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Plate 91. Josef Kod’ousek (1923-), Vlack Quartet.

Two others of Cerny’s generation were Robert Dolejsi (1892-????), who
also played the viola d’amore, and Josef Beran (1896-1978), who studied
with Herold and himself became a valuable teacher. Dolejsi, a Sevcik pupil,
emigrated to America and worked in Chicago. Beran played in the old Suk
Quartet, with whom he can be heard on some recordings, and made guest
appearances with other ensembles. However a more formidable rival to
Cerny as teacher and chamber musician in Prague was Vincenc Zahradmk

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The History of the Viola

Plate 92. Jaroslav Karlovsky (1925-), playing Hindemith s Der Schwanendreher at the 1961
Prague Spring Festival, with the Composer Conducting the Czech Philharmonic Orchestra.

(1899-1967), a member of the Ondncek Quartet from its formation in
1921 — it was named after the celebrated Frantisek of that ilk. Zahradmk
studied with Jindrich Feld and his composition teacher at the Prague Con¬
servatoire — where he himself was later to teach the viola — was Foerster.
The Ondncek Quartet, a most graceful group, made a number of recordings,
all of Czech works; besides the expected masterpieces by Smetana and
Dvorak, these included Janacek’s First, Novak’s Second and the Polka by
Fibich. Their lovely recording of Dvorak’s Piano Quintet, with the great
pianist Jan Herman, found its way on to an early American LP. From these
records we can hear that Zahradmk was a warmer-toned player than most of
his contemporaries but still a transitional artist. In a recording of Vranicky’s
Concerto for two violas, his partner was the excellent Vaclav Jenc (born
1905) from the Czech Radio Orchestra.

While the Prague school was establishing itself, a rather different tra¬
dition was growing up in Brno, the major Moravian centre. Here an earthier
quality was appreciated in string playing, largely due to the influence of
Janacek and his music, and this attitude has persisted. Those who make tonal
refinement their first priority are inclined to label the Brno style provincial;
yet the gutsy attack and vigorous bowing of Moravian string players is basic
to their view of certain music — and when they feel it is appropriate, they can
play with as much care as anyone. In Brno as in Prague, quartet ensembles
helped to develop viola technique and tone production; and by a happy
coincidence, just when the Bohemian Quartet were asking Janacek to write
a work for them, in 1923, an ensemble was being formed in Brno which
would win fame as the Moravian Quartet. The founder violist, Josef Trkan

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237

(1897-1941), was a dedicated artist who studied composition and conducting
and was still taking private lessons from Sevcik long after he had finished his
studies with Reissig. Sadly Trkan did not live long and towards the end of his
life his place had to be taken by the second violinist; but he had the great
satisfaction of working with Janacek on both his quartets. In the second,
Intimate Pages, the composer had set his heart on using the viola d’amore —
perhaps more for its name and romantic association than for its actual tone,
though he specified it with equal impracticality in other works. The Mora¬
vians tried to respect his wishes but not surprisingly, a normal viola had to
be substituted. They worked with the composer on the new composition on
March 18 and 25, 1928, and after his death on August 12, they gave the first
performance — on September 11. I am not aware of any recordings of Trkan’s
playing, but in 1923 he composed a Sonata for viola and piano.

His successor in the Moravian Quartet was Richard Kozderka (born
1908), a lynch-pin of the Brno school who has been able to pass on several
inter-related traditions of interpretation to his students and colleagues.
Kozderka first played the violin under his father Frantisek and at 12, moved
to a line of teachers including Kubanek, Vavra and his uncle Karel Zika.
From 1929 to 1955 he led the violas in the Brno Radio Orchestra, then held
the same position in the State Philharmonic until 1971. He was always
involved in chamber music, first with the old Janacek Quartet, then with the
Brno Quartet and from 1940 to 1948 with the Moravians, whose regular
second viola he had been. He then played until 1957 in the quartet named
after his famous cousin Richard Zika (1897-1947). Kozderka gave the first
Czechoslovakian performances of the concertos by Milhaud and Walton, the
latter with the composer Alan Bush conducting; and he played many works
by his compatriots, some written specially for him. A highlight of his career
was his visit to London with the Prague Quartet in 1937, when they played
Dvorak’s E flat Quintet at the Wigmore Hall and recorded it for EMI at
Abbey Road. This sparkling performance allows us to hear Cerny and
Kozderka together.

Another exceptional artist took over from Kozderka in the Moravian
Quartet — Antonin Hyksa (1905-1971), who had specialised in the violin
quite late in life, having intended to be a teacher. He studied part-time with
Feld, Hoffman (of the Bohemian Quartet) and Kocian; and only in 1932 did
he take up the viola, at the instigation of Reissig, playing in both the Herold
Quartet and the Czech Piano Quartet. Hyksa taught in Prague after World
War II and went to Brno in 1948, playing in the Moravian Quartet from that
year until its dissolution in 1959. A successful teacher, first at the Academy
of Music and then at the Janacek Academy, he had three books of viola
exercises published by Supraphon. As a soloist he inspired some 30 works for
the viola by Czech composers. Two of his recordings are particularly inter¬
esting: Borkovec’s solo Sonata, and Ostrcil’s autobiographical Sonatina for

238

The History of the Viola

viola, violin and piano, in which the viola has the leading role. Hyksa is
remembered for the musicality and warmth of his interpretations. Among
his Brno colleagues a noted viola soloist was Jaroslav Gotthard (1904-????),
who studied violin, viola (with Vavra) and conducting, played in the original
Janacek Quartet from 1932 to 1938 and in the Dolezal Quartet from 1940 to
1950 and was a member of the Brno Radio Orchestra; he then became
conductor of the Ostrava Radio Orchestra and the orchestra in Karlovy Vary,
where he died. His successors in the Dolezal Quartet were Jan Plichta
(1898-1971), who was conductor of the Brno Radio Orchestra, besides teach¬
ing the viola and chamber music at the Conservatoire; and Otto Mazurek
(born 1927), who also played in the Brno Symphony Orchestra and now lives
in West Germany.

Four Prague violists who made their mark in the transitional era were
Bohumil Klabik (1905-1964), Jaroslav Svoboda (1909-1973), Vilem Kostecka
(born 1912) — all pupils of Herold — and Josef Podjukl (born 1914). Klabik
was principal for many years in the National Theatre Orchestra, playing
from 1942 in its Quartet which he co-founded, and with which he recorded
the Second Quartet of Martinu. This work was partially dedicated to him, as
a member of the short-lived (1925-1928) but influential Novak-Frank
Quartet. He taught at the Prague Conservatoire from 1953 and in the 1950s
made recordings of modern music with the Haba Quartet. Svoboda was
the son of a composer and himself the author of many works, including a
solo suite and some studies for the viola. He held various orchestral posts
and co-founded the ensemble known first as the Pesek and then as the
Czechoslovak Quartet, with whom he recorded — a deeply felt Beethoven A
minor was widely circulated. On Klabik’s death he took over his class at the
Conservatoire. Kostecka was principal viola at the Smetana Theatre but
became known to audiences all over the world as a long-time member of the
Czech Nonet. This ensemble, which started with just one work in its rep¬
ertoire — by Spohr — now has more than 150, including many written spe¬
cially for it by composers from Foerster onwards. Podjukl, a pupil of
Moravec, led the violas in the National Theatre and made a special study of
chamber music with every teacher from Talich downwards, playing in the
Herold Quartet from 1941 and in the Novak Quartet (which grew out of the
Haba Quartet) from 1955 to 1971. This ensemble changed leaders in mid¬
stream but made a number of first-rate recordings, in which Podjukl’s firm
tone was heard to advantage — notable were Dvorak’s rarely heard C major
and the Bartok and Prokofiev Quartets. Jaroslav Horak (born 1914) was a
violinist in the Czech Philharmonic but spent his spare time propagating the
viola d’amore, as soloist, member of the Pro Arte Antiqua group and record¬
ing artist. Interesting music for viola d’amore and double bass was written
for him by Mastalir and Vorlova.

Hubert Simacek (born 1912) specialised in the viola relatively late; born

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239

in Romania, he studied violin with Kubat in Bratislava and Kocian in Prague,
then became a teacher in the provinces. He returned to active musicmaking
as a violist in the Bratislava Radio Orchestra; and he soon progressed to
leading the violas in the Slovak Philharmonic and the Bratislava National
Theatre, from 1939 to 1945, also playing in the Actardjev Quartet. After the
war he spent two years in the Prague Symphony Orchestra, then returned
to teach in Bratislava and play in the Slovak Quartet; but he went back to the
Prague Orchestra in 1955 as viola principal and co-founder of the City of
Prague Quartet. He was playing until recently in the Prague String Trio,
though he left the quartet in 1961 to become artistic director of the Prague
Chamber Soloists — a post he still holds in spite of his “retirement” in 1977.
Simacek plays an 1853 F.A.V. Homolka and his haunting — if somewhat
reedy and nasal — tone may be heard in a profound recording of Martinu’s
Rhapsody Concerto with the Prague Symphony. His chamber music records
include the same composer s String Trio and the Franck Quartet. Like
Cerny, he is sparing in his application of vibrato, having no intonation
problems to conceal. Jin Valek has written four major works for him, a
sonata, two concertos — one featuring violin and viola — and the Two
Dramatic Frescoes for viola solo. He has also premiered music by Rezac,
Jirko, Loudova and Sommer.

With Vaclav Neumann (born 1920) we move into the postwar era. Slight
but perceptible differences are apparent in violists who started their careers
after 1940, when three essential changes seem to have occurred in Czecho¬
slovakia, though they were influenced by what was happening elsewhere.
First, a significant number of string players returned from studies in Paris,
which had been a Mecca for Czech musicians in the inter- war years. Ac¬
cording to the cellist Antonin Kohout, this French leavening helped to make
string playing in Prague lighter and more transparent, just when it was in
danger of becoming too heavy. Two worldwide trends affected such basic
matters as shifts and vibrato. Older players used upward and especially
downward portamento freely for expression, and tried to play each theme on
one string; and their vibrato was minimal. The war blew away “expressive
portamento”, along with much else; while vibrato, once a subtle device to be
varied according to style and mood, became endemic — Prague took up this
trend rather later than other European centres, which had been heavily
influenced by Kreisler et al since the turn of the century. Those Czech
players with a strong feeling for colour continued to apply vibrato sparingly,
but they were not immune from outside influences; and the postwar Prague
appearances of Oistrakh and later Rostropovich, with their huge, round
tones, had a shattering effect on young musicians.

Neumann, intended as the leader of the Smetana Quartet, took up the
viola because he already had his eye on a conducting career and thought the
first violin’s job too onerous. When he left the young ensemble in 1947, the

240

The History of the Viola

leader Jaroslav Rybensky (born 1923) switched to viola! Now Neumann is
chief conductor of the Czech Philharmonic and Rybensky has returned to
the violin, but both were useful violists. A similar confusion attended the
founding of the Vlach Quartet, the violist from 1948 to 1952 being Sobeslav
Soukup (born 1922), a pupil of Moravec and Cerny. Then came Jaroslav
Motlik (q.v.); and finally the superb soloist Josef Kod’ousek (born 1923), who
was with the ensemble from 1954 until its members started going their own
ways in 1977. Kod’ousek is a violist in a different mould from his predeces¬
sors, producing a big tone warmed by a good deal of vibrato. This suited the
romantic style of the quartet; and it has made him very acceptable to West¬
ern ears. A pupil of Reissig, Kubat and Daniel, he is one of his country’s
foremost teachers of viola and chamber music; and he takes a keen interest
in the Suk Chamber Orchestra. His recordings are legion, those with the
quartet taking in such composers as Suk and Stenhammar, while his solo
tapings include the Mozart and Karel Stamic Sinfonie Concertante (both
with Josef Suk) and the B flat Concerto by Antonin Stamic, as well as sonatas
by Jan and Karel Stamic, Schubert, Brahms, Hindemith, Martinu and
Rebecca Clarke and pieces by Schumann, Britten and Dvoracek. Kod’ou-
sek’s favourite viola is a Paolo Castello of 1776, 41cm long, though he also
owns modern instruments of the same size by P.O. Spidlen and J.B. Herclik.
Some years ago he recorded (as second viola) Dvorak’s Sextet and E flat
Quintet with the Dvorak Quartet; and for sheer depth and beauty of sound
it would be hard to beat the combination of Kod’ousek with that ensemble’s
rich-toned violist Jaroslav Ruis (born 1928). This player, who studied with
Zahradnik, can be heard in many recordings by his quartet, the most recent
being of Dvorak’s E flat, Op. 51; Ruis’s playing in the famous Dumka is of
breathtaking beauty. He is also the dedicatee of a Partita for solo viola by
Klusak.

Since the war the mainspring of the Brno school has been Jin Kratochvil
(born 1924), best known as violist of the new Janacek Quartet since its debut
in 1947. He studied violin with Jedlicka, the long-time second fiddle of the
Moravian Quartet, then viola with Hyksa and Kozderka. While pursuing his
solo and quartet career, he served as principal viola in the Janacek Opera
from 1949 to 1954. The Janacek Quartet, one of the world’s finest during the
1950s and 1960s, went into partial eclipse on the death of its first leader Jin
Travnicek in 1973; but this meant that Kratochvil had more time for solo
work and his students at the Janacek Academy. He used to play a 1733 Jakob
Techier but now has one of Strnad’s finest violas. The Moravian composers
Krivinka, Matys and Blazek have written works for him and one of his few
recordings from the 1980s is of a little duo by Matys. The Janacek Quartet
have made only two recordings since 1973, Shostakovich’s Piano Quintet and
Janacek’s Concertino, but both are showcases for Kratochvil’s vigorous, in¬
tense playing. Alongside their Prague friends the Smetana Quartet — a rela-

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241

tionship cemented by performances (and two recordings) of Mendelssohn s
Octet — the Brno foursome have been responsible for bringing Janacek’s
chamber music to prominence. Their fiery renderings of the quartets have
been documented on record, tape and film; and Kratochvil’s interpretations
of the important viola parts are to be treasured, as representing the best of
the Brno tradition.

From the same generation comes the teacher, soloist and composer
Frantisek Slavik (born 1921), a tireless proponent of the viola d’amore in
Brno for more than 30 years, whose repertoire takes in the greater part of its
literature, from Ariosti to the present — even the Paganini Caprices! His
book The Viola d Amor e Compendium awaits publication. The Ostrava vio¬
list Rudolf Srubar (born 1925), studied violin, viola — in Brno with Hyksa —
composition and conducting. He has made his career in his native city,
mainly as a member of the Ostrava Quartet but also as teacher, soloist,
enthusiast and propagandist for the viola. In 1956 a new Moravian Quartet
was formed in Brno and the violist since 1966 has been Hyksa s pupil Dr Jiri
Benes (born 1928), who was previously in the Moravian String Trio. A
musicologist and writer as well as a player, he teaches at the Janacek
Academy and the Brno Conservatoire. He can be heard on a few quartet
recordings. In Bratislava the Slovak Quartet is prominent and its violist
Milan Telecky (born 1930) has done much solo work, including recordings of
Shostakovich’s Sonata and Martinu’s Rhapsody Concerto. A pupil of Hyksa,
this former principal of the Slovak Philharmonic is himself a sought-after
teacher.

Students at the University of Victoria in Canada can work with one of
the best Czech violists, Jaroslav Karlovsky (born 1925). He was a Cerny
protege and until 1968, when political events caused him to emigrate, was
set on a major career in his native country. With the Czech Philharmonic,
of which he was a leading member, he recorded the Bartok Concerto and
one written for him by Lubomir Barta; and he played Hindemith’s Der
Schwanendreher with the composer conducting. From 1960 he was in the
City of Prague Quartet, with whom he recorded; but the ensemble split in
1968, Karlovsky’s half going to New Zealand with two colleagues as the
Czech Quartet. He then moved to Australia before settling in Canada. His
violas have included a Maggini, a P.O. Spidlen, a Sitt of 1877, the J.B.
Guadagnini used by Moravec and his present two — a Vincenzo Postiglione of
1898 and an Otto Erdesz.

For more than three and a half decades the Czech Philharmonic had
had a viola section second to none; and much of the credit must go to Jaroslav
Motlik (born 1926), a Moravec pupil who has been in the orchestra since
1948, leading the section since 1951. Besides learning from sitting in front of
many great conductors, he has had conducting lessons from Celibidace and
has constantly been involved in chamber music, of which he had made a

242

The History of the Viola

number of records since leaving the Vlach Quartet. His solo recordings
include Stravinsky’s Elegie, sensitively played, the Sonata by Martinu and
the Sonata Elegica by Ceremuga; with his orchestra, under Zdenek Kosler,
he made a fine live recording of Martinu’s Rhapsody Concerto. Motlik is the
archetype of the modern Czech violist, with a firm, forthright tone not
muddied with too much vibrato. He teaches at the Prague Academy and
takes an interest in the making of violas, especially at Luby, West Bohemia,
where Karel Zadrazil constructed an instrument for him in 1978. Motlik uses
this in addition to his anonymous Italian viola from around 1750. Other
leading players in the Philharmonic are Karel Spelina (born 1936) and Karel
Rehak (born 1937). Spelina produces an interesting variety of tones from his
old violas, a 39cm Strnad of 1800 and a 44cm Eberle of 1741 which he says
is very difficult to play, though there is no sign of this in his recording of
sonatas by two of Bach’s sons. Most recently he had played a 1765 Hulinzky
with an exciting sound. Spelina is a member of the Martinu Piano Quartet
and the baroque group Ars Rediviva; and he has recorded the Josef Reycha
Concerto, all the viola music of Milhaud, sonatas by Hindemith (even Op. 25
No. 4) and Honegger, and two Beethoven quintets with the Suk Quartet.
Their violist is Rehak, a warm, full-blooded musician who took up the viola
when he was 20, at the urging of Cerny. He remembers his old professor as
an inspiring teacher and “a wonderful friend ”. While not neglecting the
Classics and Romantics, Rehak and his quartet colleagues have made a spe¬
cial study of 20th-century music; and this is reflected in his instruments, a
Gagliano of 1842 and a Premysl Herclik made in his home town of Mlada
Boleslav in 1960. The Suk Quartet may be heard in many recordings, in¬
cluding all the chamber music by the composer whose name they have
taken. One of their more interesting Classical offerings is a bassoon quartet
by Kramar (Krommer), in which the wind instrument is supported by two
violas and cello. A violinist in the Philharmonic, Jan Marek (born 1933), has
led orchestras and a quartet but is also a fine violist, taking that role in the
Kroft Quartet; while two members of the viola section, Ivan Pazour and
Jaromir Pavicek, explore the rich repertoire of viola quintets in the Prague
String Quintet — a group unique in Europe and possibly in the world.

The two most remarkable Prague artists who have taken up the viola
since the war can often be heard together, in concert or on record: Milan
Skampa (born 1928) and Josef Suk (born 1929). Dr Skampa was Cerny’s only
violin pupil and though he never studied the viola with him, was influenced
by the older man’s playing and had often considered cultivating his instru¬
ment. Initially Skampa studied with his mother Antonie Skampova ( nee
Moravcova), an exact contemporary of Cerny and his classmate under both
Lachner and Bastar; so the young man’s tuition was unusually coherent. He
would have lost part of a finger on the left hand in a childhood accident with
a deckchair, had his mother not been a violin teacher and persuaded the

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243

doctor to save it. Brought up to love chamber music, as a student he led a
quartet with Motlfk as second violin! In 1955, when Rybensky left the Sme¬
tana Quartet, its cellist Antonin Kohout immediately thought of Skampa,
whom he had met when sent as a lad to Madam Skampova to play chamber
music. Within months Skampa mastered a new instrument and a new clef,
and learnt a dozen quartets by heart (in those days the Smetanas played from
memory — they still perform their favourite Czech works without the music).
He was inspired in his new vocation by having the use of Dvorak’s Homolka
viola.

Dr Skampa brought a penetrating new mind into the greatest modern
Czech chamber ensemble, encouraging his colleagues to experiment with
different instruments and varying combinations of strings; at one stage they
played a new matching set of fiddles by P.O. Spidlen. Apart from his natural
musicality and command of differing styles, Skampa is unique for his tonal
palette; he draws a vast spectrum of sonorities and dynamics from his various
violas, ranging from an unearthly senza vibrato pianissimo through more
throaty, reedy tones to a vibrant, almost violent forte. He is Cerny’s true
heir, resembling him in his attitude to vibrato; and hearing him deliver the
opening of Dvorak’s American or Smetana’s From My Life recalls what was
said about Nedbal. Skampa will choose not only the ideal instrument for a
particular work, but also the ideal bow; he has a huge collection of these,
normally travelling with half a dozen. His activities as quartet player and
musicologist — he is the leading authority on Janacek’s quartets — have ruled
out an extensive solo career; and since the late 1960s he has had teaching
commitments at the Academy. However his long list of recordings includes
the Mozart Sinfonia Concertante (with Suk), both Mozart duos and two
separate versions of the Martinu Madrigals, on which he gave a memorable
master class at the first Lionel Tertis Competition in 1980. He made the first
Czech recording of the Martinu Sonata. Skampa mostly plays an adapted
A.H. Amati of 1616, also bearing Sitt’s label from an extensive rebuild in
1859, which matches the sounds of the old Italian instruments used by his
colleagues since 1972. He has had two P.O. Spidlens; the Homolka; and an
old Hellmer suited to small halls and studios — he used it for recording the
two Smetana Quartets in 1976.

It is a privilege to hear Skampa play second fiddle to Josef Suk, who in
1973 made his debut as first violist of a “Smetana Quintet ”. A year later, Dr.
Skampa was saying of him: “He is one of the greatest violists of all time. He
is perhaps even better on the viola than on the violin!’’ Certainly Suk’s
vibrato, which on the violin can seem excessive, is perfectly adapted to the
viola — his best Bach interpretation, for instance, is the Sixth Brandenburg.
As a violinist, Suk has an impeccable pedigree, being the grandson of his
namesake from the Bohemian Quartet and the pupil of Sevcik’s protege
Kocian. His enthusiasm for the viola — to which, he laments, he cannot

244

The History of the Viola

devote enough time — perhaps stems from his great-grandfather Dvorak,
though he came early under the spell of Cerny when he led the old Prague
Quartet in its last years. On Cerny’s death in 1975, Suk acquired his instru¬
ment, finding it better than the small N. Gagliano he had been using. Suk’s
way with the viola has all the brightness and coloristic range of his violin
playing, with an added warmth and an instinctive feeling for the instru¬
ment’s darker qualities which is rare among violinists who play the viola. His
intonation is flawless, his legato always full and firm yet supple and sensi¬
tive, his dynamic range wide. After a quintet session in 1981, Dr Skampa felt
Suk had even improved on his sensational beginnings as a violist, adding: “I
really enjoy playing chamber music with him.’’ Suk’s viola recordings in¬
clude two of Dvorak’s E flat Quintet (the first one with the Gagliano),
Harold in Italy (very different from Cerny’s interpretation with the same
instrument but equally fine), the Shostakovich Sonata, his own transcription
of Dvorak’s Silent Woods, Bach’s Sixth Brandenburg, Martinu’s Rhapsody
Concerto, Moxart’s six Quintets and his Sinfonia Concertante. Having re¬
corded this as a violinist with both Skampa and Kod’ousek, Suk taped it again
in 1979 with the Czech Philharmonic but without a violist; a week later, he
dubbed in the viola part! The result has the merit of unanimity of phrasing
between the solo parts; but most listeners will prefer the “give and take’’ of
his 1983 recording, with Iona Brown playing the violin and directing the
Academy of St Martin-in-the-Fields.

Since 1968 the violist of the City of Prague Quartet has been Lubomir
Maly (born 1938), who had also carved out a considerable solo career and is
now a National Artist. Devoted to the viola since he was 14, he has already
celebrated the Silver Jubilee of his concert debut. His teachers were
Zahradnik and Cerny. Though smaller in physical stature, Maly is a violist in
the Suk or Kod’ousek mould, with an ample tone of great warmth; indeed in
earlier years he overdid this all-purpose warmth, to the detriment of the
music. It has been a pleasure to hear him develop greater variations of tone
colour, to go with his natural facility; as a result, his phrasing has acquired
more subtlety — though a recent recording of Harold in Italy marked a re¬
lapse. Maly’s violas are a 40cm Pietro Floriani of 1852 and a 40.5cm Homolka
of 1894. He teaches at the Academy and has inspired a number of works by
Czech composers, two of the more interesting being The Stone of Michelan¬
gelo by Flosman and the beautiful Concerto by Zelezny — the latter in two
versions, of which I prefer the revised score, without piano, made shortly
before the composer’s death. Maly has recorded all three of these, also
Martinu’s Rhapsody Concerto, Hindemith’s Trauermusik and concertos by
Vanhal, Jin Benda, “Handel’VCasadesus, “J.C. Bach’VCasadesus and
Telemann; in the Vranicky and Telemann Concertos for two violas, he em¬
ulated Suk by playing both solo parts. With piano he has recorded the
sonatas by Mendelssohn and Rubinstein and pieces by Joachim and

The Czechoslovakia Viola School

245

Kalivoda; and among his many chamber music records are the Bruckner
Quintet (in which he plays first viola with the Kocian Quartet) and a set of all
Dvorak’s music for string quartet. The violist of the Czech Nonet since 1967,
Milan Hermanek (born 1942), was a pupil of Klabik, also has been one of the
capital’s top orchestral principals since graduating, first in the Czech Radio
Orchestra and from 1965 in the Prague Chamber Orchestra.

If anyone wonders why the magnificent Talich Quartet is named after its
violist, the answer is that Jan Talich (born 1945) was originally the leader.
After two violists, the founder Jin Najnar (born 1941) and Karel Dolezal
(born 1948), left within three years, Talich found himself in the situation
which had twice faced the Smetana Quartet. A superb violinist was suddenly
available, so Talich borrowed the Dvorak Homolka viola from Skampa and,
with guidance from Cerny, turned himself into a violist almost overnight.
From that time the ensemble has gone from strength to strength. Talich now
plays a 39cm Lorenzo Guadagnini of 1742 and apart from many lovely re¬
cordings with the quartet (including an acclamined Beethoven cycle), he has
taped the Brahms, Dittersdorf, Karel Stamic and Rubinstein Sonatas. His
playing is refined and musical — as you might expect of the nephew of Vaclav
Talich and the son of the violinist Valentina Loukotova — and his tone is pure
and well focused. Of his predecessors, Najnar, a pupil of Klabik and Svoboda
who plays a 1974 J.B. Herclik, is now with the steadily burgeoning Kocian
Quartet; while Dolezal had his own quartet for a time. Though he came from
a musical family, he was a slow starter and at the first concert he attended,
when he was 12, the difference between a violin and a viola had to be
explained to him. Thanks to tuition on the violin from Dobrodinsky and on
the viola from Zahradmk, Maly and Cerny, he caught up fast and started his
quartet in 1973, performing many contemporary Czech works. In 1986,
however, he left the ensemble — which then became the Stamic Quartet
with the excellent violist Jan Peruska (born 1951), a Motlik pupil and pre¬
viously principal in the Prague Symphony, whose solo recordings include
Britten’s Lachrymae, Shostakovich’s Sonata and Plankty for viola and
orchestra by Bodorova. Dolezal, who had recorded quartets by Dvorak and
Janacek and sonatas by Hindemith and Hummel, has a new ensemble.

Today the Czech school is rich in talent, with new virtuosi emerging
every year. Those who have caught my ear include Karel Prochazka (born
1943), principal of the Brno State Philharmonic and violist of the Brno
Quartet, who studied with Hyksa and Kratochvil and plays a 1743 Eberle;
Jozef Kyska (born 1943) of the Kosice Quartet, a Cerny pupil; Zuzana
Peskova, who learnt with Klabik and Svoboda — as did Jan Motlik (born 1944)
of the Pilsen Radio Quartet; Libor Novacek (born 1949), soloist of the Czech
Chamber Orchestra, with whom he had made beautiful recordings of the
Telemann and “JC- Bach’/Casadesus Concertos; Ladislav Dlouhy (born
1949) of the Czech String Trio, a pupil of Kod’ousek, Motlik and Cerny;

246

The History of the Viola

Miroslav Sehnoutka (born 1952), Skampa’s favourite pupil and a member of
the superb Panocha Quartet, who uses a 1773 instrument by Giuseppe
dall’Aglio of Mantua; Kod’ousek’s pupil Josef Kluson (born 1953), of the
steadily improving Prazak Quartet, who has a 1985 Tomas Pilar; Jan Jurik of
the Travmcek Quartet, a Kratochvil pupil — as is Miroslav Stehlik (born 1955)
of the Kyncl Quartet, who plays a Vladimir Pilar; Ladislav Kyselak (born
1956), a pupil of Kod’ousek, who has recorded the Sonata for Viola and
Organ by Filas; Pavel Vitek (born 1956) of the Kubin Quartet, a Kratochvil
protege; Karol Kopernicky of the Bratislava Quartet; Jan Jisa (born 1957) of
the Martinu Quartet, who studied with Ruis and Maly; Alexander Lakatos of
the Moyzes Quartet; and Dagmar Bekrova, a pupil of Skampa.

It augures well for the viola’s future in Czechoslovakia that a network of
good teachers has been established in the music colleges. There is also a
growing repertoire of contemporary Czech works for viola — besides the
composers already mentioned, others like Feld, Kalas, Jaroch, Tausinger,
Jirak, Matej, Havelka, Milan Slavicky, Vrana and Provaznfk have written
worthwhile pieces. The Czechs can boast one postwar classic, Martinu’s
Rhapsody Concerto; and although his viola works were composed in Amer¬
ica for players of that country, they have set an example of how music with
a real cantilena can be written for the instrument. Most important of all,
Czechoslovakia boasts numerous soloists of the first rank who are dedicated
to the viola — and Lubomir Maly considers it is now on a par with the violin
and cello in popularity there. The nation which began the viola revolution is
still very much in business.

PART THREE

THE HISTORY OF THE VIOLA
IN THE DECADE 1980-1990

TThe dates in PART THREE, 1980-90, cover the period between the
publication of Volume I and Volume II of The History of the Viola. PART
THREE opens with Chapter XVIII, “The International Viola Society,”
which briefly reports the aspirations of Vadim Borissovsky, Paul Hindemith,
and Wilhelm Altmann regarding the founding of an organization for violists;
and then the actual founding of the organization in 1968 by Franz Zeyringer
of Pollau, Austria, and others. Chapter XIX through Chapter XXX contain
summaries of some of the main events related to the viola that have occurred
during the past decade: the annual International Viola Congresses; viola
performances, including presentation of new compositions that encourage
composers to write for the viola; the major viola performance competitions;
new publications dealing with viola pedagogy, viola making; and other sub¬
jects pertaining to the viola. Chapter XXXI, entitled “Past and Future for the
Viola,” concludes PART THREE.

CHAPTER XVIII

THE INTERNATIONAL
VIOLA SOCIETY

Pioneering Attempts by Hindemith, Borissovsky, and Altmann
to Found a Society for Violists

In the early 20th century it was apparent to many violists that there should
be an organization that would represent all violists, and that would help to
promote their recognition in the world of music. In 1927 Vadim Borissovsky
(1900-72), the famous Soviet violist met Paul Hindemith (1895-1963) for the
first time in Berlin. This was to be the beginning of a lasting friendship. They
both recognized and discussed the need for some kind of society or organi¬
zation for violists, which they decided should be called The Violists’ World
Union. Neither Hindemith nor Borissovsky, however, had the time or the
resources to actually initiate and promote the new society.

In March, 1929, a friend of Borissovsky and Hindemith, Prof. Dr.
Wilhelm Altmann (1862-1951), Chief Librarian of the Berlin Royal Library,
music critic, and editor of classical musical publications, published the first
issue of Die Bratsche. This was a journal devoted exclusively to publishing
articles pertaining to the viola and the viola d’amore. In the first issue
Altmann stressed the need for founding an organization which he called
Bratschen-Bundes (Viola Union or Brotherhood). At the time, neither the
journal nor Altmann’s recommendation for forming the Bratschen-Bundes
met with significant response, no doubt due to the severe depression
Germany was undergoing. Furthermore, the political events in Europe
which eventually erupted into World War II were not conducive to estab¬
lishing a new viola society. 1

Founding of The International Viola Society

Following World War II a more favorable climate existed for the for¬
mation of an International Viola Society. Altmann, Borissovsky, and

1For a more detailed discussion of the pioneering work done to establish an organization for violists by
Borissovsky, Hindemith, and Altmann, see Maurice W. Riley, Volume I, Chapter XIV.

249

250

The History of the Viola

Plate 93. Prof. Dir. Franz Zeyringer (R.), Founder and President of Die Internationale
Viola-Gesellschaft (IVG), 1968-88, and Uta Lenkewitz-von Zahn, Secretary of IVG.

Hindemith did not live to see their dreams come true in 1968, when Die
Internationale Viola-Forschungsgesellschaft was founded in Kassel, Ger¬
many.

No small part in the recent recognition of the viola as a solo and en¬
semble instrument comparable in importance to the violin and the cello has
been due to the fact that violists now have an international organization, The
International Viola Society (Die Internationale Viola-Gesellschaft), to which
they can belong. This organization was founded in 1968 by Prof. Dir. Franz
Zeyringer of Pollau, Austria.

Through his diligence and dedication this Society, beginning in 1968
with a small group of viola enthusiasts in West Germany and Austria, grad¬
ually grew into an international organization of over a thousand members.
Among those who assisted Zeyringer from the very beginning and who are
still active are Prof. Dr. Wolfgang Sawodny, of Eichingen, a full-time
Professor of Chemistry at the University of Ulm; Uta Lenkewitz-v. Zahn, a
teacher of languages in the schools of Rheinach, near Bonn; and Str. Dir.
Dietrich Bauer, a teacher of strings and orchestra in the Kassel Public
Schools.

Sawodny has always been an officer in the organization and also makes
a great contribution to the Society as Editor of the Yearbook of the Inter¬
national Viola Society, a journal devoted to the publication of articles of

The International Viola Society

251

Plate 94. Prof. Dr. Wolfgang Sawodny, Editor of Die Viola, Jahrbuch der Internationalen
Viola-Gesellschaft, with George Riley, Violinist in The United States Air Force Symphony
Orchestra.

scholarly research. Uta Lenkawitz-von Zahn has served in various capacities
as secretary, as translator, and was the host-chairman of the XVI Viola
Congress held in Kassel in 1988. Dietrich Bauer was the first Curator of the
IVG Archives, which was located in Kassel from 1970 until 1976, when it was
moved to Salzburg.

The American Chapter of the IVG, founded by Dr. Myron Rosenblum,
was given official status in 1971. Canadian and English Chapters were or¬
ganized in 1975.

The original name of the organization, founded in 1968, was Die Inter¬
nationale Viola-Forschungsgesellschaft (The International Viola Research
Society). When Dr. Myron Rosenblum founded the American Chapter of
this organization, he named it The American Viola Research Society, a title
that was used from 1972 to 1978. During that period of time, there was a
reluctance on the part of many violists, both performers and teachers, to
join the Society because they believed that the organization was concerned
solely with musicological research, and that the Society did not promote an
interest in viola performance. These suspicions were not, and are not,
founded on fact. However, in order to allay these misconceptions the title of
the American Chapter was changed in 1978 to The American Viola Society.
This resulted in a steady increase in the society membership from the viola
performance and the viola teacher sectors.

At the VIII International Viola Congress held in Graz, Austria, in 1980,

252

The History of the Viola

those in attendance discussed changing the name of the International Viola
Society for the same reasons that had prompted the American Chapter to
change its title. There was some opposition to a change in name for the
organization; there were those who insisted that the original intent to in¬
clude research not be forgotten and eliminated from the goals of the orga¬
nization. The majority of those present expressed themselves as being in
favor of a new title, but to retain all the original goals. It was decided that a
committee would study the problem and present a new name for consider¬
ation at the X Congress, to be held in Stuttgart in 1982.

At Stuttgart, in 1982, the following title was adopted, which satisfied all
members:

Die Internationale Viola-Gesellschaft, Verein sur Forderung des Violaspiels und der
Viola-Forschung (The International Viola Society, Association for the the Advancement of
Viola Playing and of Viola Research).

Because of the length of the title, it is usually shortened to Die Inter¬
nationale Viola-Gesellschaft, or IV G. This latter abbreviation will ordinarily
be used in the following chapters.

CHAPTER XIX

THE VIOLA IN 1980

The VIII IVG Congress

TThe VIII International Viola Congress was held in Graz, Austria, July
2-6, 1980. Franz Zeyringer, President of the IVG, was the host-chairman.

The events of the Congress got under way on Wednesday evening,
July 2, in the beautiful Stadtfarrkirche, where religious music featuring
viola solo, voices, strings, and organ was presented by the Graz Pro Arte
Ensemble and Hans Gutmeyr, viola. Works performed included.

J.S. Bach (1685-1750), Cantata “Gleich wie der Regen und Schnee vom
Himmel fallt” (BWV 18);

Michael Haydn (1737-1806), Ave Regina;

Franz Aumann (1728-97), Rezitatiav “O Schmerz, O Qual,” and Arie
“Wer Gnad’ bei Gottes Thron in wahrer Russe sucked;

Franz Koringer (1921-), Cantate, “ Per mondo igliore”;

Benedetto Marcella (1686-1739), Psalm 50 “ Miserere mei Deus.”

Recitals featured the following violists: Hans Gutmeyr, Christa
Opriessnig, Walter Klasimic, Andras von Toszeghi, Werner Ehrbrecht,
Ulrich von Wrochem, Franz Zeyringer, Herbert Kefer, Yizhak Schotten,
Robert Slaughter, and Mary Atwood. Viola- viola d’amore concerts were
given by Myron Rosenblum, Dr. Daniel Thomason, and Gunter Ojstersek
(now President of IVG). Ulrich Driiner performed on both the viola and the
viola pomposa. Duet recitals featured Dr. David Dalton, viola, and Donna
Dalton, soprano; and Gustav Szerdi-Saupe, viola, and Anna S. Molnar,
Harp.

A lecture recital was given by Prof. Dr. Wolfgang Sawodny, “The Viola
Sonatas of J.B. Wanhal (1739-1815)”, and performed by Wolfgang Scherer,
viola. Dr Myron Rosenblum spoke about, “Music for Viola and Viola
d’Amore.” Lectures were given by Ulrich Driiner, “The History of the Viola
Etude;” and Dr. David Dalton gave, “A Tribute to Dr. William Primrose.”

Franz Zeyringer and Wolfgang Suppan paid tribute to the composer-
violist, Otto Siegl (1986-1978), who composed 19 significant compositions
for the viola. Suppan also gave a lecture on “Music in Styria.”

253

254

The History of the Viola

Plate 95. Ulrich von Wrochem performing Luciano Berio’s Sequenza VI for Solo Viola, at
VIII IVG Congress, Graz, 1980.

Two evening concerts were given with the accompaniments played by
the United States Air Force Symphony Orchestra, directed by Capt. Lowell
E. Graham. The concerts featured works for viola and string orchestra:
Georg Philipp Telemann (1681-1767), Concerto in G Major for 2 Violas,
Robert Slaughter and Mary Atwood; Christoph Graupner (1683-1760),
Concerto for Viola d’Amore and Viola, Dr. Myron Rosenblum and Robert
Slaughter; Henk Radings (1907-), Concerto for Viola, Robert Slaughter; and
Yizhak Schotten perforified: Telemann, Concerto in G Major; Renjamin
Britten (1913-1976), Lachrymae for Viola; Alan Schulman (1915-), Theme
and Variations for Viola, String Orchestra, and Harp.

A concert of great historical interest was given by a group from Vienna
playing viola, viola da gamba, baryton, and arpeggione. The latter was
played by Alfred Lessing.

The following article, “The Guitare D Amour,” by Alfred Lessing, is
extracted from the program notes for the above concert. It gives an inter¬
esting background of the instrument for which Franz Schubert wrote Sonata
fur Arpeggione, D.821. The English translation is by Uta Lenkewitz-von
Zahn.

The Viola in 1980

255

Plate 96. Albert Lessing with a Guitare d’Amour (or Arpeggione), on which he played
Schubert’s Sonate fur Arpeggione, Graz, 1980.

The Guitare d’Amour
by Albert Lessing

In 1823 Johann Georg Tauffer (1778-1853), maker of musical instru¬
ments in Vienna, announced his GUITARRE-VIOLON-CELLO, which,
following a contemporary report, “was praised by all experts as a desirable
enrichment of the arts. ” There were in fact some doubts regarding the first

256

The History of the Viola

rights to this “invention,” as a certain Peter Teufelsdorfer from Pest,
Hungary, contended psitively that he at the same time had been inspired by
this idea. Besides there are strange parallels with a violin in the form of the
body of a guitare, planned and built by F. Chanot (1787-1823).

The guitare d’amour or guitare-violoncello is a rather large string-
instrument, related to the viol, which was no longer used at that time, while
the form of the body and the tuning of the 6 strings (E Adghe') was taken
over from the guitar. The finger-board has 24 frets of metal or ivory, which
enable the player to use chords, double-stops or arpeggiando as on the
guitar. In 1823 the Viennese guitar-player Vincenz Schuster wrote a
“ Manual to learn the guitare-violoncello, newly invented by Herrn Georg
Tauffer.” The instrument was also called “BOGENGITARRE” (bowed-
guitar) or guitare d’amour. In the introduction of this Manual we learn: “The
sound, which is very similar to the oboe in the high and to the basset horn
in low ranges, is very grateful to the ear, and one cannot resist the special
impression, which must touch every listener.”

A second virtuoso on the guitare-violoncello was Heinrich August Birn-
bach (1782-18??). As a violoncellist and later also guitarist he worked in
various court- or theater-orchestras in Vienna, Landshut, and Berlin, and
introduced himself also as virtuoso on the “guitar with bow” (Chitarra
col’arco). Schuster and Birnbach composed pieces for the guitare-d’amour
for their own use, but most of them, with exception of a little polacca
accompanied by the guitar by Vincenz Schuster, are obviously lost. Some
contemporary arrangements prove also that violoncello-pieces were used for
the new instrument, “because its special technical potential: great ease in
playing difficult passages, fast parallel scales in thirds, chromatic, scales, and
the purity of sound in complicated chords” could be used. The above men¬
tioned “enrichment of the arts” by the guitare d’amour has certainly to be
understood in relation to sound, because “the guitar with bow is remarkably
graceful when accompanied by a normal guitar.”

Georg Stauffer, always busy in trying to perfect bowed and plucked
string-instruments, did not see his hope of a vast spreading of the guitare-
violoncello fulfilled. But he did win Franz Schubert’s interest in his inven¬
tion. Schubert wrote a composition with piano-accompaniment for it. This
was first played in 1824 by Vincenz Schuster. Schubert calls the string-
instrument in the title of his autograph “Arpeggione,” a name, which occurs
nowhere else. Whether Schubert was the creator of this name is not known;
but it would certainly be questionable, since he hardly uses the really good
possibilities of the instrument for arpeggiando. In the same way as the
guitare d’amour, which already in 1830 was almost forgotten, so Schubert’s
Sonata in a minor remained unknown and was not printed until 1871. To
give the composition a more general attraction the words “viola” and “vio¬
loncello” were both mentioned in the title. Since then it is known as the

The Viola in 1980

257

“Arpeggione-Sonata” and became a very popular piece, mostly performed
on the violoncello.

Franz Schubert wrote this brilliant composition especially because of
the appeal of the sound of the “guitar with bow,” and at the same time aware
of the playing- technique of the instrument. Of great charm is the use of
pizzicato, which sounds rich and full as on the guitar. The first movement of
the Arpeggione Sonata in a minor, allegro moderato 4/4, offers vast oppor¬
tunities to the player to show off his capabilities. The whole range of the
instrument from E to e'" is used. The basset horn-sound in the low range
occurs in the 2nd movement, and adagio 3/4 in E-Major, leading over to an
allegretto, beginning in A-Major and written in a great rondo form. The
middle part in E-Major in the 3rd movement is especially suited for the
guitare-violoncello and reminds one with its broken chords of Schubert s
Hirt auf dem Felsen (Shepherd on the Rock). Another motif of the allegretto
shows Hungarian influence. The whole work is, following its original aim,
intended to give a marvellous display of the soloist.

The piano has only a short solo-introduction in the first movement, and
in the allegretto is an intermezzo with accompaniment of pizzicati by the
arpeggione. Mostly it has just an accompanying function, which Schubert
has used, as in his lieder, with wonderful liveliness and richness of harmo¬
nies. Like the pianoforte, as it was built and used in Vienna at that time, it
had the capacity to produce many variations of tone color.

The Lionel Tertis Competition

The first Lionel Tertis International Viola Competition and Workshop
was held on The Isle of Man, August 23-29, 1980. John Bethel was the
host-chairman. The events took place in the many tourist hotels of the
beautiful city, Port Erin. Concerts and the finals of the competition were
held in a church which had been renovated into a small concert hall, now
named the Erin Arts Centre. The winners of the competition were:

1st Prize — Paul Neubauer,

2nd Prize — Kim Kashkashian,

3rd Prize — Not awarded.

The winner of 1st Prize was awarded £1000 and a recital at the Wigmore
Hall, where he gave the world premier of Concerto No. 2 for Viola
and Orchestra, by Gordon Jacob, accompanied by the English Chamber
Orchestra; and also performed with orchestra at the 1981 King Lynn
Festival. The winner of 2nd Prize received £750. The required compositions
for all contestants was the newly written Concerto No. 2 for Viola and
Orchestra, composed for the Tertis Competition by Gordon Jacob.

Ten other prizes were also awarded:

258

The History of the Viola

Plate 97. Participants at Lionel Tertis Viola Competition, 1980, Port Erin, Isle of Man.

The Viola in 1980

259

Plate 98. John Bethel, Chairman of the Lionel Tertis Viola Competition, 1980, and
Mrs. Lionel Tertis, Port Erin, Isle of Man.

Hannings and Rubino Prize — Gabor Ormai, Hungary
Pennycress Trust Prize — Kaoru Ichikawa
Performing Right Society Prize — Patricia McCarty, USA
Musician’s Union Prize — Lynn Ramsey, USA
Isle of Man Bank Prize — Karen Dreyfus, USA

Midland Bank Group Griffin Prize — Susie Meszaros, England (Austria)

Sir Robert Mayer Prize — Michael Gerrard, UK

Sir John Barbirolli Prize — Toby Hoffman, USA

W. E. Hill and Son Prize — Ah Ling Neu, USA

Special Prize — Kaoru Ichikawa, Japan

The Jury for the Competition consisted of: Harry Danks, England;
Paul Doktor, U.S.A.; Csaba Erdelyi, Hungary; Piero Farulli, Italy; Milan
Skampa, Czechoslovakia; and Gerald McDonald (Chairman), England.

In addition, the members of the jury also gave recitals and master¬
classes. Others present who performed, gave master-classes, conducted
multiple viola ensembles, and gave lectures were; Evelyn Barbirolli, Myers

260

The History of the Viola

Plate 99. Paul Neubauer, 1st Prize; Kim Kashkashian, 2nd Prize, Tertis Competition, 1980.

Foggin, Nobuko Imai, Jane Manning, Tully Potter, Maurice Riley, Simon
Rowland-Jones, Wilfred Saunders, Bernard Shore, Thomas Tatton, Jukka
Tiensuu, and Andras Von Toszeghi.

The American Viola d’Amore Society

The American Viola d’Amore Society held a one-day conference in
conjunction with the Violin Society of America at Hofstra University, Long
Island, New York, November 6, 1980. Dr. Myron Rosenblum was the host-
chairman.

Viola Competitions in Munich

Internationaler Musikwettbewerb der Rundfunkanstalten der Bundes-
republik Deutschland is held in Munich, West Germany.

The winners in the 1980 viola competition were:

1st Prize — Not awarded;

2nd Prize — Johannes Flieder, Austria;

3rd Prize — Kim Kashkashian, U.S.A.;

— Tomoko Shirao, Japan.

In this prestigious competition prize winners in previous years were:

The Viola in 1980

261

Plate 100. David Dalton, Tully Potter, Harry Danks, Maurice W. Riley, lohn White, Man
Seng Chan, at the 1980 Tertis Competition.

1962 2nd Prize — Attila Balogh, Hungary/West Germany;

3rd Prize — Hermann Voss, West Germany.

1967 2nd Prize — Nobuko Imai, Japan;

— Michael Tolpy go, U.S.S.R.;

— Vjaceslav Trusins, U.S.S.R.

1971 1st Prize — Vladimir Stopitschev, U.S.S.R.;

2nd Prize — Rainer Moog, West Germany;

3rd Prize — Uri Mayer, Israel.

1976 1st Prize — Yuri Bashmet, U.S.S.R.;

2nd Prize — Wolfram Christ, West Germany;

3rd Prize — Thomas Riebl, Austria.

1980 As listed above.

1983 2nd Prize — Barbara Westphal, West Germany.

Publications

Frangois de Beaumont, Discographie 1920-1980, L’Alto et ses
Interpreters, Quatrieme Edition. Published by the Author.

262

The History of the Viola

This valuable book lists records alphabetically by composer and also has a cross-
reference index of violist-interpreters. An Addenda et Corrigenda listing is furnished for
the three previous Editions printed in 1970, 1973, and 1975. He also published Lionel
Tertis (1876-1975) Discographie , 1975. De Beaumont, a Swiss physician, was an ardent
lover of viola music. He had acquired a large personal collection of recordings. Unfortu¬
nately the above Discographies were his last. He met an untimely death in 1981.

Maurice W. Riley, The History of the Viola, published by the author
(printed by Braun & Brumfield, Ann Arbor, Michigan), 1980.

This is the first book to deal with all aspects of the viola from c. 1500
to the present.

CHAPTER XX

THE VIOLA IN 1981

The IX IVG Congress

TThe IX International Viola Congress was held in Toronto, Canada, June
11-14, 1981, sponsored by the Faculty of Music of the University of Toronto.
A. Baird Knechtel, President of the Canadian Chapter of the I.V.G., was
host-chairman.

The program included performances, master-classes, works for multiple
violas, and lectures by the following persons: Dr. William Primrose, U.S.A.;
Fyodor Druzhinin, U.S.S.R.; Harry Danks (viola d’amore), England; Rivka
Golani, Ralph Aldrich, Steven Dann, Jaak Liioja, Uri Mayer, Hans-Karl
Peltz, Robert Verebes, all of Canada; Lillian Fuchs, Raphael Hillyer, Jerzy
Kosmala, Donald Mclnnes, Paul Neubauer, Thomas Tatton, Bernard Zaslav,
all of U.S.A.; Ulrich von Wrochem, West Germany. Ensembles which per¬
formed were: The Kenneson Trio, Canada, with Carolyn Kenneson, Viola,
Claude Kenneson, Cello, Janet Scott Hoyt, Piano; The Styrian Trio, Austria,
with Franz Zeyringer, viola, Josef Pottler, clarinet, Ingebord Ertel, piano;
The Congress Nine Symphony Orchestra, conducted by Uri Mayer and
Simon Streatfield, both violists, accompanied viola concertos.

Among the many highlights of this Congress were three events of
unique interest to those in attendance. One was a recital by the Soviet
violist, Fyodor Druzhinin. The second was the honoring of Lillian Fuchs
with a plaque commemorating her long and illustrious career as an artist-
performer, a superlative teacher, and a composer and arranger of notewor¬
thy works for the viola. The third was the last appearance of Dr. William
Primrose on a Congress program, this time conducting a master-class.

The composition, Sequenza VI for Solo Viola, by Luciano Berio, which
has aroused much critical comment from the time it was composed in 1967,
was heard at the Viola Congress in Graz in 1980, and was repeated at the
Toronto Congress, both times performed by Ulrich von Wrochem from West
Germany. Von Wrochem, in the program notes for his recital, furnished the
following interesting and informative commentary on the work:

263

264

The History of the Viola

Plate 101. A. Baird Knechtel (R), President of Canadian Chapter of IVG; Host-Chairman
of IX IVG Congress, Toronto, Canada, 1981, with Donald Mclnnes (L) and Raphael Hillyer,
Who Performed and Gave Master Classes.

“As in the Chaconne of Bach there are atonal modulations with chords of three or four
tones. These are repeated in the manner of tremolo playing mainly at the frog, and also
in a rhythmic manner — therefore sequenzas. All these chords have relationships between
themselves, not in the sense of harmonic construction but following a line ascending and
descending. The few places with lyric character are best done in a meditative manner for
the enjoyment of the audience and the performer. But the greater contrast should be in
the way we hear contemporary music. We should try to eliminate hearing the harmonies
and to begin with zero. After this experience the tonal music will be also avant garde; we
should hear this music with the ears of the listeners at the first performance. Berio wrote
the Sequenza in three editions: as a solo piece; for viola and 7 solo instruments; and for
viola, 7 solo instruments, and large orchestra.”

An exhibit of violas and viola bows by contemporary luthiers was spon¬
sored by The Violin Society of America. Eric Chapman, President of the
V.S.A., was in charge of this exhibit of over 40 makers.

The International Viola Archives

The International Viola Archives was moved from the Mozarteum in
Salzburg, Austria, to Brigham Young University in Provo, Utah, where it
was combined with the William Primrose Archives. Now it is known as PIVA

The Viola in 1981

265

Plate 102. Ralph Aldrich and Dr. William Primrose, at IX IVG Congress, 1981, Toronto,
Canada.

(Primrose International Viola Archives). See Chapter XXIII for a detailed
commentary on the Archives by the curator, Dr. David Dalton.

ASTA Viola Competitions

In 1978 The American String Teachers Association began competitions
for players of stringed instruments to be held in conjunction with their
National Conventions. The awards in the competitions have developed from
modest beginnings into more lucrative amounts and increasingly have
gained in prestige.

In the First Competition, held in Chicago, Illinois, in 1978, the finalist
was Katherine Johnk.

In the Second Competition, held in Minneapolis, Minnesota, in 1981,
the winners were:

1st Prize — Basil Vendryes, Rochester, New York.

2nd Prize — Vicki Bunn, Palo Alto, California.

In the Third Competition, held in Boston, Massachusetts, February 25,
1982. The winners were:

266

The History of the Viola

Plate 103. Feodor Drushynin, Interpreter, and Maurice W. Riley.

Plate 104. Harry Danks, Viola d’Amore, Recitalist; and Thomas Tatton, Director of Mul¬
tiple Viola Performance.

The Viola in 1981

267

Plate 105. Lillian Fuchs, Gave Master Class, and Honored with a Placque for Her Lifelong
commitment to the Viola.

268

The History of the Viola

Plate 106. Bernard (viola) and Naomi (piano) Zaslav, Duo-Recitalists.

The Viola in 1981

269

1st Prize — Cynthia Phelps, Ann Arbor, Michigan.
Finalist — Lynne Richburg, Lansing, Michigan.

Publications

There appeared in 1981 a very significant article which resulted from
Driiner’s scholarly research into viola concertos, one of the most important
areas of music for the instrument: Ulrich Driiner, “Das Viola-Konzert vor
1840.” Fontes Artis Musicae, (1981), pp. 153-76.

Driiner lists 141 compositions for viola and orchestra dating from the Baroque period to
1840. The listing is alphabetical by composer. The name of the publisher and date is
given. Present location of publication or MS is also included. This article is indispensable
to the scholar who is researching the early solo literature for the viola. Related to this
article is the important addendum:

Walter Lebermann, “Das Viola-Konzert vor 1840, Addenda und Corrigenda, ” Fontes
Artis Musicae, 30/4 (11983), pp. 220-221.

For additional information regarding concertos for the viola, see Chap¬
ter VII, “A Tentative List of Available Viola Concertos from the Baroque,
Classic, and Early Romantic Periods.”

CHAPTER XXI

THE VIOLA IN 1982

The X IVG Congress

TThe X International Viola Congress was held in Stuttgart, West Ger¬
many, June 2-5. 1982. Ulrich Driiner was host-chairman.

Performing artists from West Germany were Ulrich Koch, Hans G.
Brunig, Ulrich Driiner, Gabriel Decker-Roller, Ulrich von Wrochem, Peter
Nolting, Gunter Ojstersek, and Herman Voss. Performers from foreign
countries were Luigi Alberto Bianchi, Italy; Enrique Santiago, Spain; Vidor
Nagy, Hungary; and Jerzy Kosmala and Lawrence Wheeler, United States
of America. Kosmala, a Professor of Viola at Louisiana State University,
along with Rosalind Rees, soprano, and Michael Lloyd, piano, gave the
world premier of Relections II, by Dino Constantinides, and Trio on an
American Folk Song, by Greg Smith. Wheeler, a Professor of Viola at the
University of Houston, played two of his own compositions and Hindemith’s
Trauermusik, and dedicated the latter to the memory of Dr. William
Primrose.

Assisting in making this a remarkably fine Congress was the Staats-
orchester of Stuttgart, conducted by Dennis Russel Davies. This Orchestra
accompanied Vidor Nagy in performances of Paganini’s Grand Sonata for
Viola and Orchestra, and Berlioz’ Harold in Italy.

Over fifty compositions featuring the viola were performed. Included
were familiar works by Carl Stamitz, Schubert, Brahms, Reger, Kalliwoda,
Vieuxtemps, Chausson, Kodaly, Milhaud, Hindemith, and Shostakovich. Of
particular interest were new and seldom heard works that deserve to be
added to the violist’s repertoire by Xavier Thoma, Luciano Berio, Peter Jona
Korn, Bernard Alois Zimmermann, Wolfgang Rihm, Hans Werner Henze,
Hall Overton, Jurg Baur, Hermann Reutter, Harald Genzmer, Dino
Constantinides, Greg Smith, Lawrence Wheeler, and Joachims Krebs’
Klangsplitter for 4 solo violas. The latter composition won first prize in a
recent contest limited to works featuring the viola.

A little known 18th century work on the program was Concerto for
Viola in C Major, by August Heinrich Gehra (1715-85), performed by

270

The Viola in 1982

271

THE AMERICAN VIOLA SOCIETY

OFFICERS

OH. WILLIAM PRIMROSE, HONORARY PRESIDENT

1407 West 1 100 North
Provo, Utah 84601
Brigham Young University

Chapter of

INTERNATIONALE VIOLA-FORSCHUNGSGESELLSCHAFT

Friends, Former Students, and Admirers of

MAURICE W. RILEY, PRESIDENT

512 Roosevelt Blvd.

Ypsilanti. Ml 48197
313 - 482-6288

Emeritus Professor of Violin-Viola

Eastern Michigan University

MYRON ROSENBLUM, PAST PRESIDENT

39-23 47th Street

Sunnyside, NY 11104

Queensborough Community College

*?Nr. ^William OB-E,

(Out !Be£oved ^Dutftex anJ. cH-uiLrand
<1/Zai talUn by (Uatfi
<zA/[ ay 1, 1<)82 in <3\ovo, *\Ltafi .

DWIGHT POUNDS. VICE-PRESIDENT

1713 Karen Court

Bowling Green. KY 42101

Western Kentucky University

ANN WOODWARD. TREASURER

P.O. Box 1134

Chapel Hill. NC 27514

North Carolina University

HAROLD KLATZ, SECRETARY

1024 Maple Avenue

Evanston, II 60202

Violist in Chicago Symphony

EXECUTIVE BOARD MEMBERS

DAVID DALTON

Archivist of the International
William Primrose Viola Archives
Brigham Young University
Provo. Utah 84602
PAUL DOKTOR
215 W 88th Street
New York. NY 10024
Juilliard School.

Mannes College of Music

MILTON KATIMS

Artistic Director

School of Music

University of Houston

Houston. TX 77004

LOUIS KIEVMAN

1343 Amalfi Drive

Pacific Palisades. CA 90272

Long Beach University of California

DONALD MclNNES

Artist in Residence

College-Conservatory of Music

University of Cincinnati

Cincinnati. OH 45221

ROBERT OPPELT

Editor of Viola Forum in

The American String Teacher

26305 Coolidge Avenue

Oak Park. Ml 48327

ROBERT SLAUGHTER

1 705 N. Riley Road

Muncie. IN 47304

Ball State University

THOMAS TATTON

2705 Rutledge Way

Stockton. CA 95207

University of the Pacific

cHe art/’/’ /-£ C'uxieA from St. S^aiy'i Efiiicoful Cfiutdi,
50 <WEit 200 SVoitH, <S\ooo,
on ay 8, 1<)S2, 11:00 u.m.

Sl/lemoiiaCi may /'£ made, to
<S(U mroie. Scfioiaxitiifi ^DunJ

cjo UHe Sf-meiican ^VioCa Society.

{On L-efuiCf of Hii ^Damity,
SfiwUo ^Pximioie

1407 <MVeit 1IOO SVoith
O^iooo, ^Xilafi 84604

Dr. Primrose's passing leaves a great void in the
Viola-World, where he has been a legend in his own time.
Due to hia consummate artistry and his unstinting
efforts in promoting the viola, violists today enjoy a
recognition comparable with that accorded performers
on other solo instruments. His support of THE AMERICAN
VIOLA SOCIETY was unbounded, knowing as he did the value
of it to the viola and to violists everywhere.

The William Primrose Memorial Scholarship ^und will
be used to assist talented viola students to finance
their musical training. A tentative list of standards
and criteria for the selection of recipients will be
determined by the officers and the executive board of
THE AMERICAN VIOLA SOCIETY, and will be presented to
the membership at the XI International Vio^a Congress
in Houston in 1983 for approval and/or amendments.

The William Primrose Memorial Scholarship Fund will
be administered by THE AMERICAN VIOLA SOCIETY.

FRANCIS TURSI

16 Conislon Drive
Rochester. NY 14610
Eastman School of Music

COORDINATOR OF ACTIVITIES WITH
THE CANADIAN VIOLA SOCIETY
A. BAIRD KNECHTEL

Supervisor of Music of
Islington Schools
103 North Drive
Islington. Ontario M9A 4R5
Canada

Please use the contribution form enclosed.

Sincerely yours,

Maurice W. Riley <T

President, A. V. S.

Plate 107. Notice of Death of Dr. William Primrose, and the Establishment of the William
Primrose Memorial Scholarship Fund.

272

The History of the Viola

Plate 108. Ulrich Koch, Artist Violist and Teacher, gave recital at Stuttgart Congress.

Enrique Santiago. This is one of the few concertos written for the viola
during the Baroque Era. It proved to be a work of unusual merit. (For more
about this composition see Chapter VII).

Choral works that include solo parts for the viola were performed at the
Stuttgart Markuskirche by the Cathedral Choir conducted by Volker Lutz.
This concert was comprised of compositions by Marcello, Reger, Lachner,
Ferbel, and Hindemith.

Significant chamber music works of the nineteenth century featuring
the viola were performed. They were by Schneider, Cherubini, Lestan,
Weinreich, and Danzi.

Lecturers and their subjects were: Wolfgang Sawodny, “The Viola in
Lighter and Popular Music of the 18 Century;” Walter Lebermann, “The
Problems of Authenticating 18th Century Concertos;” Dieter Rexroth, Di¬
rector of the Paul Hindemith-Institute in Frankfurt, “Hindemith as a Com¬
poser for the Viola;” Gieselher Schubert, “Hindemith as a Violist,” illus-

The Viola in 1982

273

Plate 109. Ulrich Driiner (2nd from right), Violist and Research Scholar, Host-Chairman of
X IVG Congress, Stuttgart, 1982; with (L-R) Lawrence Wheeler, Recitalist, University of
Houston, Maurice W. Riley, and Max Rostal.

trated with vintage recordings made by Hindemith; and David Dalton, of
Provo, Utah, “The William Primrose International Viola Archives at
Brigham Young University.”

Luigi Inzaghi, an Italian musicologist, lectured on Alessandro Rolla
(1757-1841), Violinist, Violist, Teacher, Composer, and Conductor, with
emphasis on Rolla’s contributions to viola literature; and Luigi Alberto
Bianchi, Italian violist, assisted by performing compositions by Rolla, which
demonstrated that they are worthy additions to the violist’s repertoire. To¬
gether Inzaghi and Bianchi had Published a definitive biography of this
versatile musician:

Luigi Inizaghi and Luigi Bianchi, Alessandro Rolla. Milano: Grafica
Sipiel, 1981.

The credits for this book state, “The realization of this volume was made
possible by the patronage and contribution of the administration of the
Province of Pavia. ”

Various aspects of viola pedagogy were discussed in a seminar by master
teachers Max Rostal, Berta Volmer, and Roland Bierwald, and which also
included audience participation.

274

The History of the Viola

The Geneva Viola Competition
Concours International d’Execution Musicale Geneve
(International Competition for Musical Performers Geneva)

This prestigious musical performers competition includes violists at ir¬
regular intervals of from three to seven years. In 1982 over 40 viola candi¬
dates participated . The winners were:

1st Prize — Tabea Zimmermann, West Germany (6,000 Swiss francs);

2nd Prize — Therese-Marie Gilissen, Belgium (3,000 Swiss francs).

In addition, a silver medal, a bronze medal, and diplomas were awarded to
other selected contestants.

Winners of previous Geneva Competitions were:

1942 — Paul Doktor, Austria, 1st Prize

1948 — Pal Lukacs, Hungary, 2nd Prize

1948 — Marie-Therese Chailley, France, 2nd Prize

1955 — Max Lesueur, France, 2nd Prize

1955 — Michel Wales, France, 2nd Prize

1959 — Andre Vauquet, France, 2nd Prize

1962 — Geza Nemeth, Hungary, 2nd Prize

1962 — Marguerite Melon, France, 2nd Prize

1968 — Nobuko Imai, Japan, 2nd Prize

1968 — Martha Strongin Katz, United States, 2nd Prize

1972 — Atar Arad, Israel, 1st Prize

1977 — Ana Bela Chaves, Portugal, 1st Prize

1977 — Mazumi Tanamura, Japan, 2nd Prize.

The Naumburg Viola Competition

The 1982 Walter W. Naumburg Foundation Viola Competition was held
in New York City in May. This was the first time the Naumburg Competition
included the viola. The winners were:

1st Prize — Thomas Riebl, Austria (The award included $6,000, a recital
at Alice Tully Hall, appearances with the Chicago Symphony and the Los
Angeles Philharmonic, and a recording contract with Musical Heritage).

Special Prize — Paul Neubauer (an award of a recital in Alice Tully Hall).

The other four finalists were Mathias Bucholz, Karen Dreyfus, Toby
Hoffman, and Kim Kashkashian.

The Viola d’Amore Society Congress

The First International Congress of the American Viola d’Amore Soci¬
ety was held at the University of Wyoming, Laramie, Wyoming, June 29-
July 1. Gordon Childs was host-chairman. The Society was founded jointly
by Dr. Myron Rosenblum and Dr. Daniel Thomason.

CHAPTER XXII

THE VIOLA IN 1983

The XI IVG Congress

JL\e XI International Viola Congress convened on the campus of Houston
University, Houston, Texas, June 2-5. Milton Katims, Artistic Director of
the School of Music, was the host-chairman. The registrants came from 33
states of the United States, three Canadian Provinces, and ten foreign coun¬
tries.

At the opening banquet Dr. Myron Rosenblum, past president and
founder of the American Viola Society, and Professor Franz Zeyringer, Pres¬
ident of the International Viola Society, from Pollau, Austria, were honored
for their many and lasting contributions to the Viola. Dr. Maurice W. Riley,
President of the American Viola Society, presented them with “Distin¬
guished Service Citation” plaques.

Myron Rosenblum

The following tribute was paid to Dr. Myron Rosenblum by President
Riley before the presentation of the plaque:

“Myron Rosenblum was not only the founder of the American Viola Society, but he
was also the first president. As the leader of a pioneer organization he had also to serve
as treasurer; recruiter of new members; spend many hours each week writing letters to
violists; keep in contact with the parent organization, The Viola Forschungs-gesellschaft;
and also serve as editor of the A VS NEWSLETTER. The AVS grew from a membership
of 1 in 1960 to over 300 today.

“Myron, it is my privilege, in behalf of the AVS to present you this plaque as a symbol
of our esteem and appreciation. The inscription reads: ‘The American Viola Society,
Chapter of the International Viola Society, Association for the Promotion of Viola
Performance and Research — DISTINGUISHED SERVICE CITATION to Myron
Rosenblum.”

Franz Zeyringer

The following comments were made to Prof. Dir. Franz Zeyringer by
President Riley prior to presenting the second plaque:

275

276

The History of the Viola

Plate 110. Dr. Milton Katims, Artistic Director, School of Music, University of Houston,
Host-Chairman of XI IVG Congress, Houston, 1983.

“Franz Zeyringer is known world-wide as the compiler and author of the book,
Literatur fur Viola, the definitive work in its field. Among other things this comprehen¬
sive treatise disproves the old cliche that there is very little music that was written
originally for the viola and which is available for present day violists. Anyone who has
perused Zeyringer’s Literatur fur Viola cannot help but be impressed by the tremendous
amount of pains-taking research and physical labor that went into the preparation of this
monumental work.

“Of equal significance to all violists was and is Zeyringer’s vision, leadership, and
dedication in founding the Internationalen Viola Forschungs-gesellschaft (The Interna¬
tional Viola Research Society), of which the AVS is a Chapter.

“It is my privilege and honor in behalf of the AVS to present Franz Zeyringer,
President of the International Viola Society, this plaque, a token of our respect, appre-

The Viola in 1983

277

ciation, and gratitude for all that you have done for the viola, viola playing, and violists
everywhere. The inscription reads: ‘The AVS Chapter of the International Viola Society,
Association for the Promotion of Viola Performance and Research — DISTINGUISHED
SERVICE CITATION to Franz Zeyringer.’”

At this 1983 XI Viola Congress the widely varied programming included
four world premiere performances of viola works by American composers:
Thomas Benjamin, Maurice Gardner, Michael Horvit, and David A. White;
and four first American performances of compositions by Rainer Bischof,
Yoshiro Irino, Farnco Mannino, and Wilhelm Gottlieb Hauff (ca. 1755-
1817). The latter composer’s Concerto in E-flat Major was performed by
Geraldine Walther, accompanied by the Texas Chamber Orchestra, con¬
ducted by Milton Katims. It was played from manuscript prepared by Dr.
Michael D. Williams, a violist and musicologist at the University of
Houston. Katims also conducted the Orchestra in a Concerto by Thomas
Benjamin, with the viola solo part performed by Lawrence Wheeler; and
Romantic Fantasy for Violin, Viola, and Orchestra by Arthur Benjamin
(1893-1960), with solo parts played by Charmian Gadd, violinist, and Yizhak
Schotten. The Orchestra Concert also included Thea Musgrave’s Viola
Concerto (1973), conducted by the composer, and featuring Nobuko Imai as
soloist.

Recitals were presented by a succession of world famous violists, in¬
cluding three winners of International Viola Competitions: Paul Neubauer,
Tertis (1980); Thomas Riebl, Naumburg (1983); and Geraldine Walther,
Primrose (1979).

In addition, recitals were given by violists Luigi Alberto Bianchi,
Wayne Crouse, Nobuko Imai, Milton Katims, Samuel Rhodes, and
Lawrence Wheeler. Chamber music concerts featuring the viola including a
violin-viola duo recital by Charmian Gadd and Yizhak Schotten performing
works by Ernst Toch, Alessandro Rolla, Maurice Gardner, and Bohuslav
Martinu; Milton Katims performed a work by Michael Horvit for Viola and
Electronic Tape; Diane Kesling, mezzo-soprano, joined Samuel Rhodes,
violist, and Ruth Tomfohrde, pianist, in Brahms’ Two Songs for Alto, Viola,
and Piano; Lawrence Wheeler joined Kesling and Tomdfohrde in Homages
by David Ashley White; and Wayne Crouse, violist, and Mary Norris, pia¬
nist, played Paul Cooper’s Six Songs for Viola and Piano. In all, composi¬
tions by 38 masters ranging from J. S. Bach to contemporary composers were
performed.

Milton Katims gave a lecture-recital on “The Challenge of the Bach
Suites,’’ in which he discussed technical and style problems and demon¬
strated solutions by playing from his own editions.

Karen Tuttle conducted a master-class of advanced students who came
from the studios of Donald Mclnnes, Lawrence Wheeler, and Bernard
Zaslav. Their students and their selections were: Peter Guroff (Walton

278

The History of the Viola

Concerto, 1st mvt.), Ben Markwell (Hindemith Solo Sonata, Op. 25, No. 1
and Bach Suite I), Lynne Richburg (J.C. Bach Concerto, 2nd and 3rd mvts.),
Becky Thompkins (Stamitz Concerto in D Major), and Amy Levinthal
(. Bartok Concerto).

Thomas Tatton conducted a Multiple Viola “Play- Along,” in which over
80 violists participated. The group derived great enjoyment from playing
part-music for violas.

At a panel discussion five speakers lectured briefly on subjects of great
significance to violists: Thomas Tatton, “Music for Multiple Violas”; Myron
Rosenblum, “The American Viola d’Amore Society”; Eric Chapman, “How
to Have Your Valuable Instruments Appraised and Insured”; David Dalton,
“The William Primrose International Viola Archives”; and Franz Zeyringer,
“The International Viola Society, Association for the Promotion of Viola
Performance and Research.” Maurice W. Riley was the moderator. Audi¬
ence participation through comments and questions addressed to the speak¬
ers added to the interest and value of these lectures.

It was not possible to learn the names of all the fine violas played at the
Congress. The following representative group of artists and their violas,
however, is most impressive:

Bianchi — Capicchioni (1965), made especially for Mr. Bianchi,

Katims — Testori (1721), 16 3/8 in.,

Rhodes — Zanetto (c. 1580),

Schotten — Gaspar da Salo (c. 1560),

Walther — N.F. Vuillaume (1872).

The Maurice Vieux Viola Competition

ler Concours Internationale d’Alto Maurice Vieux was held March 15-
20, 1983, in Paris, France, hosted by Les Amis d’Alto. The winners of the
competition were:

1st Prize — Tabea Zimmermann, West Germany,

2nd Prize — Marius Nichiteau, Romania,

3rd Prize — Pascal Cocherli, France,

4th Prize — Pascal Robault, France.

For more information about this and succeeding Concours in France,
see the Chapter VIII, “Maurice Vieux, The Father of the Modern French
School and Les Amis de l’Alto.”

The Munich Viola Competition

Der Inter nationaler Musikwettbewerb de Rundfunkanstalten der
Bundesrepublik Deutschland was held in Munich, West Germany, in 1983.

The Viola in 1983

279

Franz Zeyringer. Photograph by Dwight Pounds.

280

The History of the Viola

Plate 112. Dr. Dwight Pounds, Western Kentucky University, Vice-President of The
American Viola Society.

2nd Prize was awarded to Barbara Westphal of West Germany, the only
prize given.

Publications

Maurice W. Riley, Storia della Viola (Translated by Elena Belloni Filippi).
Florence, Italy: Sansoni Editore, 1983.

This is an Italian Translation of The History of the Viola. A new chapter was added
by the translator, “La Viola in Italia” (The Viola in Italy), which includes an APPENDIX
that contains short biographies of Italian violists not included in the original book. This
new material can be found in Chapter XV of Volume II of The History of the Viola.

CHAPTER XXIII

THE PRIMROSE INTERNATIONAL
VIOLA ARCHIVE
(PIVA)

Contributed by
Dr. David Dalton

Dr. David Dalton, the author of this chapter, was born in Springville, Utah in 1934. He
attended the Eastman School of Music, where he achieved a Bachelor of Music degree in
1959, and a Master of Music degree in 1961. There he studied violin with Millard Taylor,
and viola with Francis Tursi. In 1970 he graduated from Indiana University, completing
a Doctor of Musical Arts degree with William Primrose. He also studied at the Vienna
Akademie Fur Musik 1957, and the Munich Hochschule fur Musik, 1961. He played violin
with the Utah Symphony 1953, the Rochester Philharmonic 1957-61; principal viola in
the Mobile (Alabama) Symphony 1966; and is now Professor of Viola and violist of the
Deseret Quartet, Brigham Young University 1970 -. He played premiere performances of
Suite in D for Viola and Continuo by Marais (transcribed by D. Dalton, published by
C.F. Peters; Chants d’Espagne for Viola and Piano by Marais, transcribed by D. Dalton,
published by Eschig). Performs with wife, Donna Dalton, soprano, and commissions
works for viola and soprano, including Vier Lieder by Alfred Uhl. He has written nu¬
merous articles in professional journals. He collaborated with William Primrose in writ¬
ing Walk on the North Side (BYU Press, 1978). Author of Playing the Viola, Conserva¬
tions with William Primrose (Oxford University Press, 1988). He was Host Chairman of
the Primrose International Viola Competition 1979, Snowbird, Utah; also the VII Inter¬
national Viola Congress, Provo, Utah, 1979. He is Editor of The Journal of the American
Viola Society, 1984-; President of the American Viola Society, 1986-90; Conductor of the
Salt Lake Symphony 1981-; Mormon missionary in Germany, 1954-56 and following;
Mormon Lay-Bishop 1989-.

As Archivist of the Primrose International Viola Archives, Dalton has succeeded in
creating one of the greatest collections of music and historical documents in existence that
is devoted to a single instrument. Violists and scholars will find in the PIVA holdings a
treasure trove of music and memorabilia for the viola of inestimable value. The contents
of this Archive, through both its quality and quantity, will contribute greatly toward
bringing the viola its deserved reputation of parity with the violin and the cello.

M.W.R.

1 he Primrose International Viola Archive, or PIVA, was largely the out¬
growth of William Primrose’s and my work together on his memoirs Walk on
the North Side (Brigham Young University press, 1978). During this collab¬
oration, the thought occurred that this unique figure in the history of musical
performance would have a legacy well worth preserving and honoring.

281

282

The History of the Viola

Plate 113. Dr. David Dalton, Archivist of PIVA, Brigham Young University, with some of the materials
in the Archives.

The Primrose International Viola Archive

283

Primrose Library Proposed

A logical repository for materials surrounding Primrose and his career as
a solo violist, chamber and orchestral musician, recording artist, teacher,
author, and editor appeared to be a university library. In 1974 in a meeting
with Primrose and the directors of the Brigham Young University Library,
the proposal was made to “establish a viola music collection, called the
William Primrose Viola Library, which would become a resource center for
students professional and amateur violists, and scholars.” At the core of the
library would be Primrose’s memorabilia, including:

1. his forthcoming memoirs (Walk on the North Side)

2. a book on viola performance and pedagogy ( Playing the Viola: Conversations with
William Primrose, published in 1978 by Oxford University Press)

3. his technical studies for viola

4. his transcriptions for viola

5. tapes and recordings (complete) of him as a soloist and chamber player

6. tape recordings of his conversations, lectures, and master classes

7. manuscripts, or photostats of manuscripts, or original works for viola, including those
dedicated to Primrose, and his own transcriptions

8. photos, letters, articles, programs, critiques, press releases, etc., from his career

9. television documentaries and films on Primrose

Surrounding this unique material would be a library of all currently
available music published for the viola, all available recordings of viola music
by Primrose and other violists, books, treatises, articles, etc., pertaining to
the history, literature, and pedagogy of the viola.

The proposal was accepted by BYU authorities, with assurances of fi¬
nancial help, and was endorsed by Primrose. In 1978, filming took place at
the BYU television studios for a 30-minute documentary titled “A Violist’s
Legacy.” The film was first shown at the VII International Viola Congress
hosted by BYU in July 1979, and is now distributed by Shar Products
Company. As a result of the congress, another video was produced featuring
Primrose and entitled “200 Violists.” In 1987, a second documentary was
produced at BYU called, “William Primrose, Violist.” This contains a vintage
black and white film of Primrose in recital at the height of his career in 1947.
(Also distributed by Shar Co.) In the summer of 1980, Primrose recorded the
Bach Cello/Viola Suites at BYU sound studios which have not yet been
released. All of these visual and aural documents, repose in PIVA. Licensing
by RCA and other companies has been sought for the reissue of vintage
Primrose readings. This will be undertaken as soon as funding can be es¬
tablished from private sources and a license granted to interested recording
companies. Efforts are being made to establish at BYU a Primrose Endow¬
ment, which would benefit PIVA among other things.

284

The History of the Viola

Plate 114. The “Working, or Short, Score” of the Bartok Viola Concerto (Reconstructed by
Tibor Serly), Which William Primrose Used for Its First Performance with the Minneapolis
Symphony Orchestra, 1949. PIVA, BYU.

Primrose’s Memorabilia

From the inception of the Primrose Library, the focus of my endeavors
as archivist has been to gather, and where necessary, purchase Primrose

The Primrose International Viola Archive

285

memorabilia and to acquire viola music in print, along with holographs, or
photostats of manuscripts when originals are not available. In 1977, Primrose
donated to BYU some 200 pieces of viola music from his own collection.
Although Primrose described himself as a “non-collector” of things, there
was a sizeable number of interesting items that turned up in this trove,
including some unique examples. There is, for instance, a manuscript for
solo viola by Ernst Toch dated 18 August 1968 — not long before his death —
which bears the inscription:

For William Primrose
The master of his art,

To please his somewhat
capricious heart.

Primrose had forgotten about this work and a number of others which
he had assumed were lost. There is a holograph in the hand of Efrem
Zimbalist, the late distinguished violinist and Primrose’s director at the
Curtis Institute of Music in the early 40’s, of the as yet unpublished “Sara-
sateana: Suite of Spanish Dances” for viola. Two illuminating manuscripts
are the “working“ scores of the Milhaud Second Viola concerto in the com¬
poser’s hand, dedicated to Primrose, and that in Tibor Serly’s hand, of the
Bartok Viola Concerto, from which Primrose prepared the premiere perfor¬
mance in 1949.

Viola Manuscripts

Some of the Primrose manuscripts contained are his pedagogical writ¬
ings and arrangements, such as The Art and Practice of Scale Playing on the
Viola and La Campanella by Paganini-Liszt. There are also proof sheets of
his editings of other composers’ works, for instance Fantastic Variations on
a Theme from Tristan by William Bergsma, written for Primrose, and also
the Bach Cello/Viola Suites. PIVA has numerous holographs of various com¬
posers’ works for viola, for example, Peter Racine Fricker’s Viola concerto,
and Iain Hamilton’s Sonata for Viola and Piano. Two other manuscripts are
George Rochberg’s Viola Sonata, and Maurice Gardner’s Rhapsody for Viola
and Orchestra, works commissioned by BYU, Friends of Primrose, and the
American Viola Society. An attempt was made to acquire the originals of two
dedications to Primrose, specifically Bartok’s holograph of the Viola Con¬
certo and Britten’s of the Lachrymae, but photostats only were available.

Primrose’s Private Collection

While most of Primrose’s private collection consisted of viola solo
music, there are about fifteen chamber works containing viola parts with

286

The History of the Viola

fingerings and bowings used by Primrose in performances and recordings. It
might be instructive for a curious violist to examine the viola part in an
album of Mozart quartets used by Primrose in the London String Quartet,
or the “Trout” Quintet used in the Festival Quartet, or a volume of
Beethoven string trios presumably employed in the Heifetz-Primrose-
Piatigorsky Trio.

In 1979 a trove of mostly early Primrose memorabilia was donated to
PIVA by Primrose’s sister, Jean, of New York City. During the London Blitz
of World War II, the Primrose family apartment fell victim to a V-2 bomb
Those family possessions rescued were eventually stored at Canterbury and
brought in 1977 in a suitcase to BYU. A number of vintage family photos
from Glasgow and London augmented the Primrose “picture gallery’’ con¬
siderably, and a large press clipping book with the musty smell of English
dampness is a particularly interesting item in the archive. The suitcase,
which Mr. Primrose recognized as an old companion from his concert trav¬
eling days, yielded programs, reviews, and some phonodiscs, both 78s and
LPs. Among the discs were several examples of first pressing, or “test”
records, with an approving “ok WP” scrawled on the label. Of particular
interest are two recordings from air checks over NBC, done in 1942 by the
Primrose Quartet (Oscar Shumsky, Josef Gingold, Primrose and Harvey
Shapiro.) In the Museum of Broadcasting, New York City, are several dozen
air checks of Primrose as soloist and with the Primrose Quartet which PIVA
eventually hopes to acquire.

Acquisitions of Viola Music

In order to expand PIVA’s holdings of viola music and carry out the
objective of acquiring all available viola music in print, the BYU Library and
Music Department approved a yearly budget for new acquisitions. Using
Franz Zeyringer’s Literatur fiir Viola (Julius Schonwetter, Jun., Hartberg,
Austria 1976 and 1985) as a guide, I designated several priorities regarding
music to purchase. The literature was selected in several categories accord¬
ing to the frequency a piece of music was played. Included were works other
than purely viola/piano literature where the viola maintains a rather prom¬
inent role. After this more or less “standard viola literature” was purchased,
so far as it was available (the supply of many viola pieces dries up notoriously
quickly after printing), a second priority was established. This included
music sometimes appearing on programs, but not frequently performed.
This acquisition having largely been carried out, it was then decided to
simply start at the beginning of the Zeyringer catalogue and attempt to
locate and purchase any item listed. It is clear that we must try to attract
donations of music from personal libraries or, in some cases, purchase ma-

The Primrose International Viola Archive

287

terials much needed in PIVA from individuals. We are also in a position to
trade many duplicate copies for pieces we wish to add to the archive.

Indeed, gifts in cash or in kind have already come from devotees of
Primrose, former students and teachers, and friends and eminent colleagues
of the master, such as Menuhin and Starker. These contributions are always
gratefully received and the contributor acknowledged with a specially
designed bookplate attached to the pieces of music donated. In 1983 a
solicitation letter was sent to over 500 publishers throughout the world over
my and Professor Franz Zeyringer’s signatures for contributions of viola
music to PIVA. Many publishing houses from as far away as Israel and New
Zealand responded generously and hundreds of publications were added. All
acquisitions in PIVA are especially noted in the 1985 Zeyringer catalogue
which contains over 16,000 titles of viola music!

In 1986, two important private viola libraries were acquired in Europe.
The Albrecht collection from Bratislava and the Tretzch collection from
Berling brought well over 500 new works to PIVA.

PIVA in 1988 established a working relationship with one of the leading
collectors and editors of viola music. Dr. Ulrich Driiner of Stuttgart has
possibly the largest collection of 18th and 19th century viola manuscripts and
first editions. Because most of these works are presently not for sale, PIVA
entered into an agreement with Driiner to microfilm this collection for
deposit in the BYU Library, thus making these several hundred items more
readily available for research and publication. PIVA has a “first refusal”
opportunity on the sale of acquired materials by this outstanding collector.
PIVA acquired in 1985 the papers and materials from the late Walter
Leberman, eminent researcher and editor of viola music. Together with the
Driiner microfilms and the vast materials from Zeyringer, which will even¬
tually come to BYU, PIVA has access to the materials of three of the most
influential researchers on the subject of the viola of our time.

IVS Archive to Provo

With the acquisition by PIVA in June 1982 of the Viola Archive of
the International Viola Society, which had been housed in the Salzburg
Mozarteum, BYU’s collection of viola music doubled to over two thousand
pieces. The groundwork for this acquisition began in 1979 on the occasion of
the VII International Viola Congress in Provo, Utah. Franz Zeyringer, pres¬
ident of the IVS, examined the then William Primrose Viola Library and
described to me his positive impression of what was being done in behalf of
Primrose through this collection having taken note of the well-cared-for
articles, the efficient, modern, and large (over two million volumes) BYU

288

The History of the Viola

Library with its own bindery. He wondered sotto voce if this might not be
the eventual and better repository for the I VS Archive.

Although Zeyringer was the significant force behind the establishment
of the I VS archive, as represented in his considerable donation of personal
time and funds, other monies had been expended on it, and the Salzburg
archive legally belonged to the I VS and the Austrian Cultural Ministry, of
which the Musik Hochschule “Mozarteum” was a part. He made a formal
motion to the presidency of the IVS and other Austrian officials to transfer
the archive to Brigham Young University, which was upheld with the en¬
couragement that “BYU further expand the archive and make it accessible to
all interested parties.” The archive arrived on the BYU campus July, 1981.
The bookplate attached to each of about 1,200 items from the Salzburg
archive recognizes the source: “From the International Viola Research So¬
ciety.” It was decided in view of the notable expansion of the William
Primrose Viola Library with the addition of the IVS Viola Archive, that the
broad implications of the archive, as Zeyringer had envisioned it and as BYU
wished its viola collection to become, would best be noted by referring to
the viola library thereafter as the “Primrose International Viola Archive.”
PIVA has become the official archive of the International Viola Society and
the American Viola Society.

Two Divisions of PTVA

There are two basic sections to PIVA, both housed on the top floor of
the BYU Library in separate areas. (1) Viola music and books on the subject
of the viola make up the major part of the collection and currently number
over 4,000 entries. These are catalogued according to the Library of
Congress system in open stacks. In this area, any item belonging to PIVA is
immediately identifiable to the eye, for all viola music is bound in a light
cover with a distinctive red binding. The interior of the cover bears a spe¬
cially designed and characteristic bookplate with a logo carrying the title,
“Primrose International Viola Archive,” and in the case of a donation, “Gift

of _ .” Most of these examples are on a general circulation basis. Those

relatively few items that are “non-circulating” are one-of-a-kind items, for
instance, viola parts used personally by Primrose with his editings. These
can be perused, but remain within the library proper. (2) Music manuscripts
(several hundred), photos, programs, reviews of Primrose performances,
phonodiscs and general memorabilia that are irreplaceable make up the
second section of the collection. These are secured in the Locked Case area
of the BYU Library, located near the music stacks.

With the planned physical expansion of the BYU Library, an enclosed
area is planned which will house all of the printed viola music presently

The Primrose International Viola Archive

289

in the open stacks. In addition, this room will display photos and other
memorabilia mainly pertaining to Primrose s career but honoring other
prominent violists as well. This will also serve as a comfortable and well
appointed reading room for students and visiting scholars. Irreplaceable
items and manuscripts will continue to be housed for ready access in the
Locked Case nearby.

Use of the Archive

How accessible are materials in PIVA to the violist and scholar ? About
as accessible as items in any modern university library. BYU favors making
its resources available as a reference collection to its patrons and other
libraries, while at the same time being careful to protect its holdings. There
are no limitations of access imposed on “non-violists,” for example. As de¬
scribed in this writing, the bulk of the materials in PIVA are in a “general
circulation” category. This would include most of the viola music collection.
There are some personal copies of viola music once owned by Mr. Primrose
that bear his editings, various manuscripts, and Primrose memorabilia that
because of their uniqueness may be perused but not circulated. What means
are open to a patron to peruse materials in PIVA? The most obvious way is
to visit BYU. When this is out of the question, requests may be made
through interlibrary loan within the U.S.A. Microfilming may also be or¬
dered through the BYU Library. The copyright law allows copying of printed
music for private study.

PIVA is catalogued by (1) a shelf list, and (2) a composer and title index.
How can a patron know precisely what viola pieces are contained in PIVA?
The standard viola repertoire is available, as well as hundreds of infrequently
performed works. A patron can know our holdings to 1985 inclusively by
consulting the new Zeyringer catalogue, Literatur fur Viola, where each
work in PIVA is asterisked. Certainly no violist or researcher would want to
be without his/her copy of this valuable source. Periodic updating of PIVA
acquisitions will be published in the Viola Yearbook brought out by the I VS.
In the meantime, if there are any inquiries to be made about PIVA, they
should be addressed to:

David Dalton
Archivist, PIVA
BYU Music— HFAC
Provo, UT 84604

PIVA, through the BYU Library’s associate librarian for special collec¬
tions A. Dean Larsen, and its music librarians, Dr. Thomas Mathiesen and

290

The History of the Viola

Dr. David Day, has committed itself to carry on work begun by Zeyringer.
David Day will bring out periodically supplements to Zeyringer’s lexicon
Literatur fiir Viola as well as the de Beaumont Viola Discography . David
Dalton will continue to expand on a Viola Biography already begun by
Zeyringer and especially Dr. Maurice W. Riley. All these undertakings point
toward a composite work as envisioned by Professor Zeyringer, a Viola
Encyclopedia.

Our initial proposal in establishing the William Primrose Viola Library
was that “the library should become one of the most significant resource
centers for teachers, students, performing violists, and scholars in North
America.” The addition of the IVS Viola Archive and ongoing expansion of
PIVA persuades us to broaden that vision beyond any geographical bound¬
aries. Recently, Harry Danks, the distinguished British violist, sent us
the Primrose holograph of the transcription Nocturne and Scherzo from
Borodin s Second Quartet. We had assumed this was lost. Watson Forbes
has donated copies of his over 100 editions and transcriptions for viola, plus
manuscripts of works written by British composers who were in the forefront
of establishing an original literature for the instrument in the 20th century.
Franz Zeyringer will bequeath his collection and the results of over 35 years’
research on the viola to PIVA. Professor Karl Stierhof, longtime professor of
viola at the Academy of Music in Vienna, has bequeathed in his will to PIVA
his library and phonodisc collection.

And most recently, Lory Wallfisch, wife of the late and distinguished
violist, Ernst Wallfisch, came to Provo expressly to examine the Archive.
After her visit, she decided that this was the appropriate place for the
Wallfisch viola library and memorabilia. These materials have been donated
and incorporated in PIVA where Ernst Wallfisch’s name and contribution to
viola performance can be appropriately cited. I am sanguine that in like
manner the careers of other distinguished persons associated with the viola
can be similarly recognized.

Zeyringer sees in PIVA “the promise of a center for the viola unique in
the world. ’’ With continued financial support from Brigham Young Univer¬
sity and patrons who are interested in furthering the viola, and who wish to
honor the greatest name among violists, William Primrose, we hope that our
optimism is justified in the further expansion of the Primrose International
Viola Archive.

The Primrose Memorial Concerts

The Primrose Memorial Concerts have taken place at Brigham Young
University each year since William Primrose’s death in 1982, and usually
feature an outstanding viola performer. Often the concert is followed by a

The Primrose International Viola Archive

291

master class for viola students at BYU. Inevitably a transcription by Primrose
is included in the program. Quite often excellent pianists collaborate with
the viola soloist such as Vladimir Sokoloff, Joseph Villa, and Brooks Smith.
Below is a list of the artists who have appeared since 1982 supported by the
Primrose Endowment at BYU. The intention is to keep the Primrose Me¬
morial Concert at BYU going indefinitely.

1982 Emanuel Vardi

1983 Joseph de Pasquale

1984 Toby Appel

1985 Cynthis Phelps

1986 Paul Neubauer

1987 Csaba Erdely

1988 Viola Marathon (this included students and professors
from BYU, violists of the Utah Symphony, violists from
Provo and Salt Lake City, Utah, in continuous concert
from 8:00 a.m. until 5:00 p.m. on one day.

1989 Donald Mclnnes

1990 Patricia McCarthy.

CHAPTER XXIV

THE VIOLA IN 1984

The XII IVG Congress
and

The Lionel Tertis Viola Competition

TThe XII International Viola Congress and the II Lionel Tertis
tional Viola Competition and Workshop were held on The Isle
August 22-30, 1984. John Bethel was host-chairman, assisted
White, President of the British Viola Society.

The competition winners were:

1st Prize — Cynthia Phelps, U.S.A.;

2nd Prize — Paul Coletti, Scotland;

3rd Prize — Carla Maria Rodrigues, Portugal.

The Prizes awarded were:

1st Prize — £1,500, and recitals at Wigmore Hall, BBC broadcast, and
several British music festivals.

2nd Prize — £1,000, The Arthur Rubinstein Memorial Prize.

3rd Prize — £650, The John Bethel Award.

Other prizes were awarded:

Matthias Buckholz: Hannings and Rubino Prize of a $1,000 viola bow.
Yuko Inoue: The Ernst Wallfisch Memorial Prize of £500;

Naomi Seiler: The Veronica Horsley Gotch Memorial Prize of £300;
Carla Maria Rodrigues: The Musician’s Union Prize of £150.

Four Prizes of £100 each:

Patricia Pollett: The Isle of Man Bank;

Paul Coletti: The Midland Bank Group Griffin;

Lynne Richburg: The Pennycress Trust;

Benson Headley: Sir John Barbirolli;
and Prizes by:

Edward Vanderspar: W.E. Hill & Son, a viola case and books;

Joy Watson: Boosey Hawkes Music Publishers, £50 of music;

David Harding: Schott Music Publishers, £50 of music;

Interna-
of Man,
by John

292

The Viola in 1984

293

Roger Hall: Universal Edition Music Publishers, £25 of music;

Jesus Alphonzo: William Elkin Music Publishers, £15 of music.

The required composition, commissioned for the competition, was
Concerto for Viola and Orchestra by Wilfred Josephs.

The Jury consisted of: Lady Evelyn Barbirolli, OBE, England (Chair¬
man); Paul Cropper, MBE, England; Hirofumi Fukai, Japan; Alfred Lipka,
East Germany; Donald Mclnnes, USA; and Simon Streatfeild, Canada.

Performers and lecturers included: The Bochmann String Quartet, John
Chambers, Man-Seng Chan, David Dalton, Harry Danks, Helen Davies,
Michael Freyhan, Hirofumi Fukai, Rivka Golani, Lynn Hannings, Wilfred
Josephs, Louis Kievman, Graham Kirkland, Alfred Lipka, Susie Meszaros,
Donald Mclnnes, Paul Neubauer, Michael Ponder, Tully Potter, Frederick
Riddle, Maurice W. Riley, George Rubino, Wolfgang Sawodny, Eleanor
Shimmin, Lillian Tertis, Emanuel Vardi, Leonore Weinstock, and John
White.

Prof. Dr. Wolfgang Sawodny, Professor of Chemistry at the University
of Ulm in West Germany, had to withdraw from the program because of an
emergency health problem. However, he sent by his son a copy of his
lecture, “The History of the Viola Sonata,” which was read to the audience
by Dr. David Dalton.

Michael Ponder, violist, accompanied by Michael Freyhan, gave a
lecture-recital, “Rebecca Clarke, England’s First Lady of the Viola, and
Composer Extraordinary.’’

David Dalton presented a documentary, “The William Primrose
Legacy.’’ This presentation showed his career with a commentary by
Primrose, himself, on the art of playing the viola.

Maurice Riley gave a lecture, “Available Baroque and Classic Concertos
for the Viola Worthy of Being in the Violist’s Repertoire. ’’ It was accompa¬
nied with illustrative tapes of related compositions.

Tully Potter, in addition to editing the Daily Bratsche, and writing
program notes for the entire week’s events, gave two lectures. The first, “Sir
Arnold Bax (1883-1953), His Viola Music on Record,” was illustrated with
taped recordings. The other, “The English Violist,” was illustrated with
historical recordings.

Lynn Hannings and George Rubino, American luthiers, gave a joint
lecture on bow making.

Wilfred Saunders, British luthier, gave a lecture on “Care and Main¬
tenance of Your Instrument. ”

Frederick Riddle lectured on “Sir William Walton, Concerto for Viola
(1929, revised 1962).’’

Louis Kievman lectured on “Practicing the Viola,” and also gave a
master-class.

Donald Mclnnes, in addition to serving on the Jury, conducted a

294

The History of the Viola

Plate 115. Donald Mclnnes with 1984 Lionel Tertis Competition Winners: Carla Maria
Rodrigues, British, 3rd Prize; Cynthia Phelps, USA, 1st Prize; Paul Coletti, British, 2nd Prize,
(not present).

master-class and also gave a recital. The three finalists in the Competition
were students of Mclnnes.

Emanuel Vardi gave a recital and conducted a master-class.

Paul Neubauer, winner of the Tertis Competition in 1980 and was ap¬
pointed Principal Viola of the New York Philharmonic in 1984, gave a recital
which featured works transcribed for viola by Lionel Tertis.

A succession of other artists also gave superb recitals, including Rivka
Golani, Hirofumi Fukai, Alfred Lipka, and John Chambers.

Harry Danks and John White directed ensembles which met daily and
performed music with 2 to 12 multiple violas parts.

The Viola in 1984

295

French-Soviet Seminar

French and Soviet violists held a Seminar (Colloques pedagogie) in
Moscow in January 1984. Viola teachers from the Paris Conservatoire
Nationale met and exchanged ideas with the viola teachers of the Moscow
Conservatory.

Musicological Symposium

At Innsbruch University, Innsbruch, Austria, a Musicological Sympo¬
sium devoted to the viola was held October 30-November 1.

The Viola d’Amore Society Congress

The 2nd International Congress of the American Viola d’Amore Society
was held on the campus of Pittsburg State University, Pittsburg, Kansas,
June 28-30. The activities included three days of concerts, workshops, lec¬
tures, and lecture-recitals by internationally renowned viola d’amore per¬
formers. Professor Mary Elliot James was the host-chairman.

Publications

Ulrich Driiner, “Violoncello Piccolo und Viola Pomposa bei J.S. Bach,’’ Das
Orchester, Vol. II (Nov., 1984), pp. 947-52.

This article covers the dimensions, tunings, and composers who wrote music for
the two instruments. Of special interest is the fact that the famous German violist,
Ulrich Koch, plays a violoncello piccolo made by Sanuel Hunger (c. 1730-40) which has
a body length of 46.5 cm. (18 1/4 in.), upper bout of 22 cm. (8 5/8 in.), lower bout of 28
cm. (11 in.).

Wolfgang Sawodny, “Viola da Gamba oder da Braccio: Ein Beitrag fur
Beschtzungsproblematik der Streichermittelstimmen im Sieb-
zehnten Jahrhundert,” Edition Helbling, Innsbruck, 1984, pp.
143-151.

This is a scholarly research of string music of the 17th century regarding ways to
distinguish between music intended for the viola da gamba or for the viola. Sawodny
originally gave this article as a lecture at the Jacobus Stainer Symposium at Innsbruch
University in 1983.

CHAPTER XXV

THE VIOLA IN 1985

The XIII IVG Congress

JLVe XIII International Viola Congress was held in Boston on the campus
of the New England Conservatory of Music, June 12-16, 1985. Marcus
Thompson was the host chairman.

At the opening banquet Lawrence Lesser, President of the New
England Conservatory welcomed the attending violists and their families.
He then introduced three members of the Conservatory Faculty, violists
Burton Fine. Walter Trampler, and Marcus Thompson. All three appeared
later in concerts.

Marcus Thompson introduced Franz Zeyringer, of Pollau, Austria, the
President of the International Viola Society. Zeyringer announced that Paul
Doktor had been elected to Honorary Membership in the Society, a dis¬
tinction bestowed on only one other violist, the late Dr. William Primrose.
Zeyringer also paid tribute to Dr. Maurice W. Riley, President of the
American Viola Society, for his contributions to the Society, and awarded
him a silver key, which was in the shape of a viola C clef. President Riley
then presented Distinguished Service Citations to Dwight Pounds, Harold
Klatz, and Ann Woodward, Vice President, Secretary, and Treasurer, re¬
spectively of The American Viola Society, and also Citations to the host-
chairmen of previous Viola Congresses: Louise Goldberg and Francis Tursi
for Congress V; David Dalton for Congress VII; A. Baird Knechtel for
Congress IX; Milton Katims for Congress XI; and a Citation to Paul Doktor
for his many contributions to the viola and to violists.

Following the banquet the opening concert featured the members of
the NEC Faculty in an ensemble recital. The opening work was Karl Ditters
von Dittersdorf’s Sonata in E Flat for Viola and Double Bass (c.1770),
Krebs. V. 218, performed by Burton Fine and Edwin Baker. This was fol¬
lowed by Debussy s Sonata for Flute, Viola, and Harp (1915), played by
Fenwick Smith, Burton Fine, and Susan Miron. The concluding number
was Brahms’ Quintet, No. 1, in F Major, Op. 83 (1883). This Quintet for 2
violins, 2 violas, and cello, featured the President of NEC, cellist Lawrence

296

The Viola in 1985

297

Plate 116. Marcus Thompson (R), Host-Chairman of XIII IVG Congress, New England
Conservatory, Boston, 1985, with Lt. Dennis M. Layendecker, Conductor of the United States
Air Force Symphony Orchestra.

Lesser, and his wife, violinist Masuko Ushioda, guest violinist Lynn Chang,
and violists Marcus Thompson and Katherine Murdock.

As in previous Congresses there were a representative number of viola
compositions by contemporary composers, including Judith Shatlin Allen,
Anthony Newman, Malcom C. Peyton, Larry Alan Smith, Henry Lazaroff,
William Thomas McKinley, and Christopher Woehr. Many of these works
were given premier performances, several had been written for the per¬
forming artist; and some were commissioned for the Congress.

Audiences were treated to a wide range of viola literature including a
concert entitled, “A Ninetieth Birthday Tribute to Paul Hindemith (1895-
1963), which presented Kim Kashkashian and Walter Trampler as soloists.
Kashkashian performed two as yet unpublished compositions for unaccom¬
panied viola: Sonata (1937) and Sonata, Op. 31, No. 4. Trampler, assisted by
pianist Thomas Stump, presented Sonata for Viola and Piano, Op. 25, No.
4, which was published posthumously in 1977.

The evening concert, June 13, presented The United States Air Force
Symphony Orchestra, Lt. Dennis Layendecker, conductor. They partici¬
pated in three works for viola and orchestra. Rosemary Glyde performed
Hans Sitt’s Konzertstuck in G Minor, Op. 46 (1905); Marcus Thompson

298

The History of the Viola

played the solo part of a new work he had commissioned, Concerto for Viola,
Strings, Timpani, and Piano (1985), by Anthony Newman; Atar Arad, per¬
formed Niccolo Paganini’s Sonata per la Gran Viola and Orchestra, Op. 35
(1834), with cadenzas by Arad.

The programs at the Congress included a wealth of music for the viola.
The Alea III, a Performing Arts Ensemble-in-Residence at Boston Univer¬
sity, Theodore Antoniou, Music Director, played excellent accompaniments
for three works written specifically for the performing artists. They were
Glyph (1984) by Judith Shatlin Allen, performed by Rosemary Glyde; “Vo/o”
composed and conducted by Henri Lazarof, performed by Milton Thomas;
and the concluding piece was Viola Concerto (1976), by Simon Bainbridge,
performed by Walter Trampler.

The John Oliver Chorale, conducted by its founder, John Oliver, in
conjunction with the US Air Force Symphony Orchestra, conducted by Lt.
Dennis Layendecker, was heard in an evening concert which included three
works. They were Howard Hansen’s Song of Democracy, with text by Walt
Whitman, scored for chorus and orchestra; Klaus Roy’s Canticle of the Sun,
Op. 17 (1950), with text by St. Francis of Assisi; and Ralph Vaughn-Williams’
Flos Campi (1925), with text from the Song of Solomon. The two latter works
were scored for viola solo, choir, and orchestra. Abraham Skernick was the
featured violist in both works. Joseph de Pasquale performed Johann N.
Hummel’s Potpourri for Viola and Orchestra, Op. 94 (1820). The conclud¬
ing work was the world premier of Concerto for Viola and Orchestra,
“ Tableau Vivants d Orphee ’ , by Larry Alan Smith, commissioned by the
U.S. Air Force Symphony Orchestra. The viola solo part was played by Kim
Kashkashian.

Many recitals were given. Paul Doktor presented Brahm s Z wei
Gesange, Opus 91 (1884), Armin Knab’s Rosa Mystica, Bernard Krol’s
Lassus Variationen, Op. 33 (1962), and his own arrangement of Bach’s
Sonata No. 2, BWV 2028 (c. 1720). Doktor was assisted by Cecilia Angell,
contralto, Mihae Lee, piano, and Richard Troeger, harpsichord.

Ann Woodward, playing a viola adjusted to Baroque standards, pre¬
sented an interesting and informative lecture-recital which included histor¬
ical commentary and performances of Beethoven’s Notturno for Fortepiano
and Viola, Op. 42, an arrangement of his String Trio, Op. 8 (1796-97)
approved by the composer. This was followed by Carl Philipp Stamitz’
Sonata for Fortepiano with Viola Obligato (1778), in which the Viola is
tuned a half-step higher than the fortepiano; and Johann Nepomuk
Hummel’s Sonata for Fortepiano with the Accompaniment of a Viola, Op. 5,
No. 3 (c. 1798). The fortepiano parts were played by Phyllis Rappeport on an
instrument which is a modern reproduction of a 1796 Viennese fortepiano
made by Johann Jacob Konicke. The original is in the Germanische National
Museum in Niirnberg, Germany.

The Viola in 1985

299

Cynthia Phelps, winner of the 1984 Lionel Tertis Viola Competition,
assisted by pianist Kirsten Taylor, gave a recital which included Bach’s
Sonata No. 3 for Viola da Gamba in G Minor, BWV 1029 (c.1720); Theme
and Variations (1940) by Alan Shulman; Concertpiece (1908) by Georges
Enesco; and Sonata, Op. 11, No. 4 (1922) by Paul Hindemith.

Lectures relating to the Viola Society and its research were given by
Franz Zeyringer, David Dalton, and Maurice W. Riley. Zeyringer an¬
nounced that the new edition of his Literaturfiir Viola would be available in
August, 1985.

Riley’s lecture, “Contributions of the International Viola Society to
Enlarging the Violist’s Repertoire through the Promotion of Performance
and Research,’’ called attention to the rapid growth of new works for the
Viola commissioned for the Viola Congresses. It also pointed to the large
number of works written originally for the Viola from the Baroque and
Classic periods that are now available to Violists, many of which have been
performed at the Viola Congresses.

Dalton’s lecture, illustrated with slides, described the rapid growth of
the Primrose International Viola Archives (PIVA), housed at Brigham Young
University in Provo, Utah. At that time there were already over 3,000 items
in the collection. Dalton is the Archivist.

Lectures dealing with Viola pedagogy and performance problems were
given by Abraham Skernick, Kim Kashkashian, and a panel consisting of Atar
Arad, Paul Doktor, Rosemary Glyde, Cynthia Phelps, and Milton Thomas.

Master-classes were conducted by Joseph de Pasquale, Abraham
Skernick, Paul Doktor, Rosemary Glyde, and Millton Thomas.

Eric Chapman, organizer of the exhibit of over 40 contemporary violas
and viola bows, lectured on “The Present State of Viola Making. ”

Audiences heard performances played on great Violas played by Atar
Arad, Stradivarius (1731); Paul Doktor, Peter Guarnerius of Mantua; Burton
Fine, 16th century Brescian School; Rosemary Glyde, Benjamin Banks
(1786); Kim Kashkashian, Andrea Amati (1573); Joseph de Pasquale, Sergio
Peresson (1967); Cynthia Phelps, Old Italian; Milton Thomas, Matteo
Goffriller (1699); Marcus Thompson, J.B. Ceruti (1798); Walter Trampler,
Hieronymous and Antonius Amati (1611); and Ann Woodward, Daniel
Stadlman of Vienna (1725), restored to original Baroque condition by John
Pringle of London, it having been formerly the concert instrument of
Emanuel Vardi.

The Eastman-Rochester Viola Ensemble, directed by Neal Hampton,
performed three works by Christian Woehr, who also is the principal Viola
of the group. The audience was delighted by the clever writing of the com¬
positions: Concerto Pesante for Violas and Orchestra (1984), Boti Dances
(1978), and Six Silly Songs (1984) which were set to humorous poetry of Jack
Prelutsky, and sung by Cecile Saine, soprano.

300

The History of the Viola

Plate 117. Burton Fine, Principal Violist, Boston Symphony Orchestra, with Susan Miron,
Harpist, and Fenwick Smith, Flutist.

Plate 118. Walter Trampler, Recitalist.

The Viola in 1985

301

Plate 119. Joseph de Pasquale, Principal Violist of the Philadelphia Orchestra, with
George Riley, Concertmaster of the United States Air Force Orchestra.

The fine reception by the audience for the Eastman-Rochester Violists
was echoed the next morning when the Congress concluded with a Multiple
Viola “Play-along,” directed by Neal Hampton. Members of the audience
brought their Violas to the stage and joined the Eastman-Rochester Viola
Ensemble in a Fun-for-All Impromptu Concert, playing works with multiple
parts.

Violist’s Day

Bratchistentag was held in Niirnberg, West Germany, November 3.
Afternoon and evening concerts featured members of the Rhineland Trio
(flute, violin, and viola), led by violist Jan Kocich. The music included Trios
by Fiorillo and Reger; Duo for Violin and Viola by Joseph Haydn; and A
Dialog for Flute and Viola by Violette Dinescu. Johann Czako, an officer in
the IVG, was host of the event.

302

The History of the Viola

The Viola in 1985

303

Viola Plus

“Viola Plus” is a new organization founded by violist Marlow Fisher in
New York City. Funded by the Alice M. Ditson Fund of Columbia Univer¬
sity and the Meet the Composer Fund, Viola Plus’ goals include the pro¬
motion of viola works by contemporary composers. Eight concerts were
given during the 1985-86 season in Carnegie Hall in New York, and in
Stein way Hall in Los Angeles. Ten twentieth century works were per¬
formed.

Publication

Franz Zeyringer, Literture fur Viola, New Edition, 1985.

This very important book lists approximately 14,000 compositions for viola, in about
270 instrumental combinations, classified as Original Works (O), Borrowed Works (L),
and Arrangements (B). In German, French, and English.

CHAPTER XXVI

THE VIOLA IN 1986

The Viola Week

JL he International Viola Week, “The Viola in My Life”, was held in
Amsterdam, Holland, March 30-April 6, 1986. This very ambitious Viola
Week was subtitled “The Viola in My Life’ after Morton Feldman’s compo¬
sitions by that title, and was dedicated to the solo viola literature of the
twentieth century. It focused particularly on the complete solo viola works
of Max Reger and of Paul Hindemith, which were performed during the
Week. These works, along with other recent compositions for viola, were
performed in six recitals and three chamber music concerts. Lectures and
master-classes also were a part of the Week’s activities. Irene Otter-Bayle
was in charge of the entire event, assisted by Henk Guittart and Rena
Scholtens, who were responsible for the artistic contents of The Viola Week.

Among the famous violists who performed solos were:

Esther Apituley Raphael Hillyer

Aldo Bennici Oscar Hoogland

Zoltan Benyacs Maurice Horsthuis

Klaas Boon Nobuki Imai

Serge Collot Ulrich Koch

Henk Guittart Jurgen Kussmaul

Ig Henneman Rena Scholtens

Sabine Toutain.

Composers whose viola music was performed on the programs were:

Bela Bartok
Gunther Becker
Luciano Berio
Yehezkiel Braun
Benjamin Britten
Adolf Busch
John Cage
Michel Decoust
Violeta Dinescu
Franco Donatoni

Betsy Jolas

Andre Jolivet

Ernst Krenek

Bruno Maderna

Gian Francesco Malipiero

Myriam Marbe

Max Reger

Steve Reich

Ruth Schontal

Elliott Schwarz

304

The Viola in 1986

305

Fyodor Druzhinin
Morton Feldman
Odette Gartenlaub
Michael Geller
Fernando Grillo
Walter Hekster
Paul Hindemith
Arthur Honneger

Salvatore Sciarrino
Dimitri Shostakovich
Igor Stravinsky
Xaver Thoma
Egon Wellesz
Jan van Vlijmen
Iannis Xenakis
Bernd Alois Zimmerman

The Schoenberg Ensemble, which included strings, winds, and percus¬
sion players, Reinbert de Leeuw, conductor, joined in the performances of
works scored for more instruments than only the solo viola.

Master-classes were conducted by Serge Collot, from Paris, France;
Raphael Hillyer from New York, U.S.A., Ulrich Koch from St. Utrich,
Germany, and Jurgen Kussmaul, from Diisseldorf, Germany.

Other violists, who participated were:

Ute Binz

Frangoise Bordenave
Mathijs Bunschoten
Gilles Deliege
Tom Duven
Christoph Engelbach
Ken Hakii
Ulrich Hartmann
Thomas Hove
Sabine Jansen
Wim de Jong

Ulrike Kaufmann
Ute von Keller
Jan Kokich

Janneke van der Meer
Florian Mohr
Eva Muller
Annette Slaatto
Liesbeth Steffens
Bernadette Verhagen
Thomas Weissmann

Finn Winslov
Valenlijn de Wolf

The music performed during The Viola Week covered a wide range of
forms, styles, and harmonic techniques, ranging from tonal to atonal, from
traditional to avant garde; from Morton Feldman’s experimental composition
techniques used in his The Viola in My Life (1970) to Fernando Grillo’s use
of scordatura in his Der Seele Erdengang (1984).

Grillo, b. 1945, chose the tuning a, b*7, g, and ftt, which would make it
possible to play unusual double-stops, double harmonics, and harmonics
with open strings. This piece, performed by Oscar Hoogland, is described in
more detail in Chapter IX, “Scordatura for the Viola.”

The American composer Morton Feldman (1926-87) studied composi¬
tion with Wallingford Riegger and Stefan Wolpe, but was particularly influ¬
enced by John Cage. Feldman met the violist Karen Phillips in Honolulu in
1971. He was so impressed by her artistry that he wrote four compositions
dedicated to her, all with the title. The Viola in My Life. They had varied
instrumentation: I. For Viola Solo, with Cello, Piano, and Percussion; II.
For Viola Solo, with Flute, Clarinet, Violin, Cello, Percussion, and Celesta;

306

The History of the Viola

III. For Viola Solo, and Piano; and IV. For Viola Solo, with Orchestra. No.
I and No. Ill were performed by Esther Apituley in the Grand Finale
Concert, assisted by Marjes Benoist, piano, and members of the Schoenberg
Ensemble. No. II was performed by Henk Guittart and members of the
Schoenberg Ensemble, directed by Reinbert de Leeuw.

Participants and those in attendance all received a valuable catalogue of
490 twentieth century works for solo viola. The listing is alphabetical by
composer. For compositions in print, the publisher s name is included; if
still in manuscript, the location is furnished.

The XIV IVG Congress

This XIV International Viola Congress planned for Parma, Italy, with
Luigi Inzaghi, host-chairman, had to be cancelled. In a letter to the author
dated May 5, 1986, Inzaghi explained the political and financial problems
involved in hosting the Congress in Parma:

“A definitive answer will be given to me at the end of May when the Municipality of
Parma will have made out the general budget. Things have moved slowly since last June,
1985, when local elections took place. The Cultural Alderman who had promised me to
finance the Congress, unfortunately, was not re-elected. The new Alderman, who is a
dentist by profession, and a few weeks ago was elected Parliament Deputy in the
Republican Party, does not understand anything about music; and he has not made any
decisions for many months concerning all of the concert activities at the Teatro Reggio of
Parma.”

Several weeks later Inzaghi was forced to cancel the 1986 Viola
Congress which had been planned for Parma, Italy.

The Second Maurice Vieux Viola Competition

The 2eme Concours International d’Alto Maurice Vieux was held
September 2-7, 1986, in Lille, France. The winners were:

1st Prize — Lars Anders Tomter, Norway
2nd Prize — Teodor Coman, Romania
— Frangois Schmitt, France
3rd Prize — Sabine Toutain, France.

For more about this Concours, see Chapter XIII.

The ASTA Viola Competition

The Fourth American String Teachers Association Viola Competition
was held in Anaheim, California, April 8-9, 1986. The competition took two

The Viola in 1986

307

days since it included separate awards for violin, viola, cello, double bass,
guitar, and harp. The viola winners were:

First Prize “The American Viola Society $500 Award” — Sophie
Renshaw, who also was Co- Winner of the 1986 ASTA Grand Prize
of $2,000, which she shared with Maya Iwabuchi, winner of the
Gustav Rosseels Violin Award.

Other finalists — Scott Pomer, Lynne Richburg, and Phillip Ying.

The Viola d’Amore Society Congress

The 3rd International Congress of the American Viola d’Amore Society
was held on the campus of Texas University, Austin, Texas, July 10-12,
1986. David Troutman was host-chairman.

Publications

Paul Neumeyer, The Music of Paul Hindemith. New Haven: Yale University
Press, 1986.

This is a very important book for the violist who is looking for information concerning
Hindemith’s compositions for viola.

Wolfgang Sawodny, “Duo-Kompositionen fur Streicher,” Musica, Septem-
ber-October, 1986, pp. 431-7.

This article reviews the use of duets for stringed instruments from the 15th century
to the present. Of particular interest are cited examples for violin and viola by Anna
Amalie von Preussen, Fugue (1772); Carl Stamitz, Duos, Op. 18; Alessandro Rolla, Duo,
Op. 5; Louis Spohr, Duo, Op. 13 (1806); Michael Haydn, Sonata, No. 4; W. A. Mozart,
Duos K.V. 423 and 424; and Duo, Op 9, No. 1, for viola and bass, by Benjamin Blake.

CHAPTER XXVII

THE VIOLA IN 1987

The XV IVG Congress

TThe XV International Viola Congress was held on the campus of the
University of Michigan in Ann Arbor, Michigan, June 16-20. Yizhak
Schotten was host-chairman. He was ably assisted by Katherine Collier, who
was in charge of planning and administrative details.

The William Primrose Memorial Scholarship Competiton was held for
the first time. The following students received awards:

1st Prize — Lynne Richburg, Lansing, Michigan

2nd Prize — Carla-Maria Rodriques, Minneapolis, Minnesota

3rd Prize — Paris Anastasiadis.

This competition will be repeated every two years at the Congresses
held in the United States and Canada.

The XV Congress opened with a banquet at which Dr. Paul C. Boy lan,
Dean of the School of Music, welcomed guests. David Dalton, President of
the American Viola Society, presented Past-President Maurice W. Riley,
and former Treasurer Ann Woodward plaques honoring them for their com¬
mittment and service to the American Viola Society. A plaque was also
presented to the United States Air Force Symphony Orchestra in appreci¬
ation for the participation of this group in six of the International Viola
Congresses.

Franz Zeyringer, from Pollau, Austria, President of the International
Viola Society, presented David Dalton with a silver viola-clef pin, in recog¬
nition of his exemplary committment in connection with developing the
resources of the Primrose International Viola Archives at Brigham Young
University.

The banquet was followed by the first of the series of concerts at the
Congress. This first concert featured faculty and former students of the
University of Michigan.

Evening concerts featuring viola concertos were ably accompanied by
the United States Air Force Symphony Orchestra, conducted by Lt. Denis
Layendecker, and by the National Arts Chamber Orchestra, conducted by
Kevin McMahon.

308

The Viola in 1987

309

Plate 121. Yizhak Schotten, University of Michigan, Host-Chairman of XV IVG Congress,
Ann Arbor, Michigan, with Katherine Collier, in charge of administrative details, and Maurice
W. Riley.

Plate 122. Winners of the William Primrose Competition: Paris Anatasiades, 3rd Prize;
Lynne Richburg, 1st Prize; Carla Maria Rodrigues, 2nd Prize; with Dr. David Dalton, Presi¬
dent of AVS, and Dr. Robert Oppelt, Chairman of Competition Committee.

310

The History of the Viola

Plate 123. (a) Maurice Gardner, Composer, Concerto for Violin and Viola, (b) Maurice
Gardner, Donald Mclnnes, Viola, Endre Granat, Violin, performers.

A succession of artist violists appeared in solo and ensemble perfor¬
mances, including: Toby Appel, Kozuhide Isomura, Susan Kier, Patricia
McCarty, Donald Mclnnes, Kathy Plummer, William Preucil, Yizhak Schot-
ten, Paul Swantek, Emanuel Vardi, Robert Vernon, Lenore Weinstock, and
Barbara Westphal.

The music performed included Baroque, Classic, Romantic, and Con¬
temporary viola compositions. Composers in attendance who had works
performed were: Leslie Bassett, James Domine, David Finko, Maurice
Gardner, Walter May, Alan Shulman, Georg Balch Wilson, and Heinz
Werner Zimmerman of West Germany.

Master Classes, lectures, lecture-recitals, and panel discussions were
presented by violists Heidi Castelman, David Dalton, Nathan Gordon,
Louis Kievman, Doris Preucil, Maurice Riley, Ann Woodward, and Franz
Zeyringer.

Premier performanaces were given of the viola version of Tibor Serly’s
Sonata in Modus Lascivus, performed by Patricia McCarty; and Alan
Shulman’s Variations 1984 for Viola, Harp, and Strings, with the viola part
performed by Emanuel Vardi. The National Arts Chamber Ensemble ac¬
companied Maurice Wright’s Solo Suite 1987, performed by Barbara
Westphal. Maurice Gardner’s Concerto for Violin, Viola, and Orchestra was
performed by Endre Granat, Donald Mclnnes, and the United States Air
Force Symphony Orchestra.

The Viola in 1987

311

Plate 124. David Finko, Composer, Concerto for Viola and Orchestra, and Robert Ver¬
non, Principal Viola of the Cleveland Orchestra, performer.

Plate 125. Alan Shulman, Composer, and Mrs. Shulman, with Harold Klatz, Viola, Chi¬
cago Symphony, Secretary, AVS.

312

The History of the Viola

Plate 126. James Domine, Composer, Concerto for Viola and String Orchestra; with Susan
Kier, Violist, performer.

Humor was added to the programs by David Dalton, assisted by
“Reluctant Partner,” and Penelope Crawford, when they performed the
Sonata for Viola Four Hands and Harpsichord, s. 440, by P.D.Q. Bach
(1807-1742)?

An exhibit of violas and viola bows by contemporary makers was super¬
vised by Eric Chapman, assisted by Greg Alf and Joseph Curtin. A demon¬
stration of the tone quality of the contemporary instruments was presented
as a part of the regular Congress program. Kazuhide Isomura, violist of the
Tokyo String Quaartet, played each instrument briefly so that the audience
could judge the sound. Reaction was very favorable, with many of those
present expressing their surprise that contemporary instruments could pos¬
sess such fine tone quality.

The Congress ended with a Play- Along conducted by Yizhak Schotten,
assisted by Adrian Lo, of Kelby College, who furnished music which he had
arranged in multiple parts for violas. Over 50 violists participated, including
many of the artists who had appeared on the Congress programs. The XV
Viola Congress came to a fitting and joyous close with the Play-Along group
performing J.S. Bach’s Brandenburg Concerto, No. VI.

The Viola in 1987

313

Plate 127. Louis Kievman, John Riley, Violist, and Lisa Riley, Violinist, Supporters of The
American Viola Society Since Its Beginning.

Plate 128. Lenore Weinstock and Emanuel Vardi, recital of Works for Two Violas. Vardi
performed works with orchestra by Benjamin Britton, Alan Shulman, and Walter May.

314

The History of the Viola

Plate 129. Dr. Ann Woodward, Treasurer of AVS 1978-87; Dr. Rosemary Glyde,
Treasurer of AVS, 1988-; and Louis Kievman.

Plate 130. Reunion of Louis Kievman, Nathan Gordon, and Emanuel Vardi, All Members
of the NBC Symphony, Directed by Arturo Toscanini. Photograph by Dwight Pounds.

The Viola in 1987

315

Plate 131. Lauria Riley and Ben Carl Riley, Cellists in the United States Air Force Sym¬
phony Orchestra, Which Has Performed in Seven IVG Congresses; and Carolyn Riley. Ben
Carl and Carolyn did the Art Work in this Book.

The Geneva Concours Internationale d’Execution Musicale

This competition was held in Geneva, Switzerland, August 28 -Septem¬
ber 16. Over 70 violists of world-wide nationality entered. Those receiving
awards were:

1st Prize — Hong Xiao, China

2nd Prize — Sabine Toutain, France

3rd Prize — Felix Schwartz, West Germany.

Viola Plus

Five concerts were given under the Auspices of Viola Plus during the
1986-87 season at Carnegie Hall featuring contemporary works for the viola.
Two new compositions were written for this series of concerts. Ten twenti-
etieth century viola pieces were performed.

CHAPTER XXV1I1

THE VIOLA IN 1988

The XVI IVG Congress

TThe XVI International Viola 20th Year Jubilee Congress was held in
Kassel, West Germany, June 16-19, 1988. Uta Lenkewitz-von Zahn, Sec¬
retary of the IVG, was the host-chairman.

The following report is based on information furnished by Frau
Lenkewitz-von Zahn and Dr. Dwight R. Pounds. Due to ill health and with
regret, this is the first Congress since 1975 on which I am unable to report
in person.

In addition to the viola music that is an integral part of all IVG
Congresses, this “Jubilee” Congress was nostalgic because it was held in the
same city, Kassel, where the organization had been founded in 1968. Franz
Zeyringer, Dietrich Bauer, Dr. Francois de Beaumont, Wolfgang Sawodny,
Berta Vulda, and others began the parent organization, which now has
Chapters in ten other countries. It was in the city of Kassel that Zeyringer
and Bauer set up the first Viola Archives, which was later moved to the
Mozarteum in Salzburg, and then to Brigham Young University, Provo,
Utah, U.S.A.

Franz Zeyringer, who had been the guiding figure of the IVG through¬
out the first 20 years, resigned as president in order to have more time to
pursue other interests. For 20 years he has unselfishly given his time and
skill to help promote the goals of the IVG. His leadership, dedication, and
devotion is a major factor in the many successful achievements of the orga¬
nization.

Gunter Ojstersek, from Diisseldorf, West Germany, was elected the
new President of the IVG. He has been active in the organization for many
years. He is an artist performer and a distinguished teacher of both the viola
and the viola d’amore. Other officers elected are Prof. Dr. Wolfgang
Sawodny, Vice-President, from Elchingen; and Heinz Berch, secretary,
from Dreieich-Sprenlingen.

Ojstersek, in behalf of the IVG, presented Zeyringer with a Gold Viola
Clef medal in recognition of his many contributions and unstinting work in
behalf of the Viola.

316

The Viola in 1988

317

The Kassel programming placed more emphasis on chamber music than
had been the practice in previous Congresses. Among the groups perform¬
ing chamber music were the Diisseldorf Viola Quartet; the Schoenberg
String Quartet from The Hague, Netherlands; the Pfeifer and the Verdi
String Quartet from West Germany; and the Concilium Musicum from
Vienna. These groups presented a wide variety of music, performing works
from the 17th century to the present.

Solo recitals were given by violists Hariolf Schlichtig, Ulrich von
Wrochem, Gunter Ojstersek, Barbara Westphal, Bernd Rinne, Martin
Straakholder, and a duo-recital by Anette Marguerre, viola, and Susanne
Trinkaus-Marguerre, violin.

The American Chapter of the IVG was represented on the programs
with a recital by Jerzy Kosmala, and by the following lectures: David Dalton,
discussing his recently released book, Playing the Viola: Conversations with
William Primrose; Dwight Pounds, “The Development of Viola Congresses
in the United States, and Canada,” illustrated with slides; Franco Scian-
nameo, “Unprinted Italian Viola Music,”1 Anne Woodward, “Violists of the
Classical Period.”2

Other lectures were given by Martin Smith, from South Africa, “South
African Viola Music,” and by Franz Zeyringer, who discussed his recent
book, Die Viola da Braccio, and also the new series of publications Edition
Pax , which will specialize in viola music in a lighter vein, similar to his “Viola
Fox,” which has delighted audiences at previous Congresses.3

The Third Lionel Tertis Viola Competition

This important Viola Competition and Workshop was held as before on
The Isle of Man, with John Bethel host-chairman, August 27-September 3,
1988. The Isle of Man Mananan Festival Trust promotes this event every
four years with the help of patrons of the Viola worldwide, and with Ruth,
Lady Fermoy, DC VO, OBE, as honorary president. The winners of the
Competition, which was open to viola players of all nationalities born on or
after March 1, 1961, were:

1st Prize — Hsin-Yun Huang, Taiwan, residing in England,

2nd Prize — Jane Atkins, England,

3rd Prize — Jean-Eric Soucy, Quebec, Canada.

xSee Chapter XIV

2See Chapter VIII.

3For a more detailed description of the XVI Congress, see, Dwight R. Pounds, “The Kassel Congress —
A 20-Year Jubilee,” Journal of the American Viola Society, Vol. 4, No. 2 (1988), pp. 23-25.

318

The History of the Viola

Plate 132. Gunter Ojstersek, President of IVG, 1988-.

The required composition for all contestants was Tides of Mananan, by
Paul Patterson, commissioned for the competition and dedicated to David
Lumsden on his 60th birthday.

We are indebted to Tully Potter, British music critic, for furnishing the
information that appears in this section. He also is responsible for Chapter
XVII, “The Czechoslovakia Viola School.”

Members of the Jury were Harry Danks, Sidney Griller, and Sir David
Lumsden (chairman), all from England; Thomas Riebl, Austria; Milan
Skampa, Czechoslovakia; and Emanuel Vardi, Unites States.

Artists and professional staff who performed, accompanied, conducted
master classes, directed music for multiple violas, and or gave prepared
lectures were:

Yuri Bashmet

BBC Philharmonic Orchestra

Man-Seng Chan

Roy Collins

Harry Danks

Helen Davies

Michael Freyhan

Janos Furst

Sidney Griller

Nobuko Imai
Louis Kievman
Stephanie Leon
Maggini String Quartet
Michael Muntian
Martin Outram
Paul Patterson
Michael Ponder
Tully Potter

The Viola in 1988

319

Thomas Riebl
Wilfred Saunders
Eric Shumsky
Milan Skampa
Zlatko Stahuljak

Kathron Sturrock
Lillian Tertis
Emanuel Vardi
Roger Vignoles
John White.

Many exceptionally fine concerts were given during the week’s activi¬
ties. One was the performance given in Douglas, the capital city of The Isle
of Man, by the BBC Philharmonic Orchestra, conducted by Janos Furst.
Included was a performance by Soviet violist, Yuri Bashmet, of William
Walton’s Concerto for Viola.

Among the lectures given at the event were: Tully Potter, “The Art of
Peter Schidlof Louis Kievman, “The Pedagogy of Dr. D.C. Dounis”;
Wilfred Saunders, “Construction and Design Problems of the Viola, and the
Care and Maintenance of the Instrument”; Man Seng Chan, luthier from
Singapore, “The Importance of the Viola Bow, Versus the Size of the Viola.”

The ASTA Viola Competition

The Fifth American String Teachers Association Viola Competition was
held in Bloomington, Indiana, in conjunction with the ASTA National
Convention, which was held in Indianapolis, Indiana, April 22, 1988. The
winners were:

First Prize — Karen Opgenorth, Vancouver, British Columbia, Canada.
Finalists — Corbin Hornbeck, Tatjana Mead, and Romona Merritt.

Bratsche Bash

The Canadian Viola Society promoted “The Bratsche Bash” in London,
Ontario, March 19-20, 1988. It was a viola weekend which included cham¬
ber music concerts and a forum on teaching. Everyone was encouraged to
bring their violas in order to participate in chamber music.

The Viola d’Amore Congress

The 4th International Congress of the American Viola d’Amore Society
was held in Stuttgart, West Germany, August 22-24, 1988. Arnt Martin was
the host chairman.

320

The History of the Viola

Plate 133. Yuri Bashmet, Performer and Member of the Jury, Lionel Tertis Competition,
Isle of Man, 1988.

Publication

Dr. David Dalton, Playing the Viola, Conservations with William Primrose
(New York: Oxford University Press, 1988).

This very important and remarkable book is full of valuable information about per¬
formance problems on the viola, and methodology for their solutions. The work is de¬
signed for performing artist-violists, for viola teachers, for viola students, and for violinists
who want to know what the differences are between playing the violin and playing the
viola. The material is presented in an informal question and answer format, with the

The Viola in 1988

321

author, David Dalton, directing his questions to the late William Primrose. Primrose’s
erudite and authoritative answers are based on his long career as a distinguished per¬
forming artist and as a dedicated and successful teacher.

Franz Zeyringer, Die Viola da Braccio (Munich: Heller Druck & Verlag,
1988, in German).

Zeyringer traces the introduction of bowed instruments into Western Europe from
Central Asia during the Middle Ages. Many interesting drawings illustrate the evolution
of the shapes and designs of various bowed instruments, as well as the bridge, peg-box,
scroll, and sound holes. The bow is discussed from its primitive origin to the perfected
Tourte model. Related subjects are also included in the book, such as, the genesis and
history of the International Viola-Gesellschaft (IVG). The book also contains an exhaustive
Bibliography.

CHAPTER XXIX

THE VIOLA IN 1989

The XVII IVG CONGRESS

TThe XVII International Viola Congress was held on the campus of the
University of Redlands in Redlands, California, June 21-25, 1989. Lucille
Taylor was the host-chairman. Louis Kievman and Donald Mclnnes assisted
in the planning of the program of musical events, and Dr. David Dalton,
President of the American Viola Society, was in over-all charge of the Con¬
gress.

During the first day of the Congress the news arrived that Paul Doktor,
famous performer and teacher of the viola, had died in a New York City
hospital during heart surgery. The Officers and Executive Roard of the
American Viola Society immediately dedicated the XVII Congress to hon¬
oring Paul Doktor.

The second William Primrose Viola Competition was held during the
first day of the Congress. Members of the Executive Board of the American
Viola Society acted as judges, with Louis Kievman, Vice-President of the
AVS, Chairman. The winners were:

1st Prize — Daniel Foster, age 19, of Washington, D.C., a student at
Oberlin College;

2nd Prize — Ming Pak, age 22, of Beijing, China, a student at Oberlin
College;

3rd Prize — Kai Tang, age 25, of Beijing, now a member of the Honolulu
Symphony.

The three winners appeared individually on later Congress programs.
Daniel Foster performed the required number, Concerto for Viola and
Orchestra by Wayne Bohrnstedt, accompanied by the Redlands Symphony
Orchestra, conducted by Jon Robertson.

Among the impressive list of performers and lecturers on programs at
the Congress were: John Thomas Acevedo, Clyn D. Barrus, Paul Coletti,
Alan de Veritch, Roberto Diaz, Csaba Erdelyi, Rosemary Glyde, Pamela
Goldsmith, Martha Strongin Katz, Gunter Ojstersek, Simon J. Oswell,
Dwight Pounds, David Schwartz, Thomas Tatton, Lucille Taylor, Lyndon

322

The Viola in 1989

323

Plate 134. Louis Kievman, Chairman of Planning Committee for XVII IVG Congress,
Redlands, California, 1989.

Taylor, Henri Temianka, Karen Tuttle, Bernard and Naomi Zaslov, and the
Redlands Symphony Orchestra, conducted by Jon Robertson.

Among the compositions heard for the first time at the Congress were
Concerto for Viola by Robert W. Jones and performed by Roberto Diaz.
Martha Strongin Katz, viola, and Lyndon Taylor, violin, performed Suite for
Violin and Viola, Op. 19, No. 1, by the Swedish composer, Kurt Atterburg
(rev. 1946). These works were accompanied by the Redlands Symphony
Orchestra. Rosemary Glyde performed Road to Hamelin for Viola and
Narrator by Paul Ramsier. This work is based on Robert Browning’s famed
story, The Pied Piper of Hamelin. Miss Glyde ably assumed the dual role of
violist and narrator.

Lucille Taylor, viola, John Waltz, cello, and Margaret Meier, piano,
gave a recital which included a premier performance of Trio by Margaret
Meier, comprising movements entitled: Declamatory, with Passion; II.
From a Place of Calm; and III. With Spontaneity.

324

The History of the Viola

Plate 135. Daniel Foster, 1st Prize, Second William Primrose Competition.

Outstanding recitals were presented by a succession of artist-violists.
Among the compositions not previously heard on Congress programs were
two works by Joseph Jongen, Belgiam composer. Concertino for Viola and
Piano and Suite for Viola and Piano, played by Clyn Barrus, viola, and Mark
Wilburg, piano. Also new to Congress audiences were Roque Cordero s Tres
Mensajes Breves for Viola and Piano (1966), and Juan Orrego-Salas’ Mobici
for Viola and Piano (1967), both performed by Roberto Diaz, viola, and
Anne Diaz, piano.

From Diisseldorf, West Germany, came Gunter Ojstersek, the new
President of the International Viola Society (. Internationale Viola-Gesell-
schaft). He is Principal Violist of the Dusseldorf Symphony, and has been on
the faculty of the Rheinland Music Academy since 1985. Assisted by
Georgeann Peterson, piano, he performed Sonatefor Viola and Piano (1981)
by Miroslav Miletic.

Simon J. Oswell, from Australia, lectured on “The Viola Down Under:
Is the Viola Played Right-side Up Down Under?” He performed works
composed by Australian composers: Malcolm Williamson’s Partita for Viola
on Themes of Walton, Don Kay’s Cloud Patterns, and Peter Sculthorpe’s
Sonata for Viola and Percussion, assisted by Dan Dunbar, percussionist.

Paul Coletti, accompanied by Ralph Albertstrom, piano, gave the world

The Viola in 1989

325

premier of Psyche, for Viola and Womens Voices (1987) by William O.
Smith.

The Zaslov Duo, composed of Bernard Zaslov, viola, and Naomi Zaslov,
piano, gave a recital which included a work written for them, “Set for Two”
for Viola and Piano (1962) by Charles Whittenberg.

On a program entitled, “Look What I Bratsche!” there appeared two
compositions with unusual instrumentation: Variations for Four Drums and
Viola by Michael Colgrass, performed by Pamela Goldsmith, viola, and
Mitchell Peters, percussion; and Kalamtiano for Viola and Accordion by
Nick Ariondo, played by John Acevedo, viola, and Nick Ariondo, accordion.
This latter work was awarded the 1987 Castelfidardo Prize at the Interna¬
tional Chamber Music Competition held in Ancona, Italy.

Also appearing on this program was music for multiple viola parts,
which featured June Sunrise-Blue Sky, Symphonic Study for 12 Solo Violas
by Kenneth Harding, played by Marilyn Baker, Richard Elegino, Alan de
Veritch, Pamela Goldsmith, Louis Kievman, Donald Mclnnes, Carole
Mukogawa, Daniel Neufeld, David Schwartz, Harry Shirinian, Linn Subot-
nick, and Evan Wilson. This work was conducted by Thomas Tatton.

Thomas Tatton also conducted the final program of the Congress, the
“Play-along” of J.S. Bach’s Brandenburg Concerto No. 6, performed for
fun by over fifty violists who were in attendance at the Congress. This
performance was assisted by Jeffry Kaatz, cello, and Georgeann Peterson,
continuo.

Master Classes, which included related lectures, were given by Csaba
Erdelyi, “The Breath of Performance”; Karen Tuttle, “Viola Pedagogical
Techniques ”; and Alan de Veritch, “You’ve Finished School — So Now
What?”.

Informative lectures were given by Pamela Goldsmith, “The Transition
to the Tourte Bow and Its Effect on Bowing Articulation”; David Schwartz,
“The Recording Industry and Studio — Can We Survive High-Tech (Prog¬
ress?)”; and Hans Weisshaar, “Building Violins in the Classical Italian Style.”

Eric Chapman, who was in charge of the exhibit of violas and viola bows
made by contemporary makers, chaired an informative panel discussion on
the various aspects of bow making. Members of the panel were Joseph
Kuhn, from Ottawa, Canada, and David Russel Young, who has shops in Los
Angeles and in Boulder, Colorado.

Dwight Pounds, Professor of Viola at Western Kentucky University,
gave an enlightening and highly entertaining lecture, “A Brief History of
The American Viola Society. ” The lecture was accompanied by slides of the
previous Congresses and with recorded musical background of viola music.
This lecture is available on video tape. Professor Pounds is writing a com¬
plete history of The American Viola Society.

The Officers and the Executive Board of The American Viola Society,

326

The History of the Viola

Plate 136. David Dalton, Mrs. Donna Dalton, Henry Temianka, Speaker at Final Banquet,
Gunter Ojstersek, President of IVG, and Mrs. Ojstersek.

Plate 137. Leila Riley, Honored at Banquet by Plaque “for Longtime Service to The
American Viola Society;’’ with David Schwartz, Movie Studio Violist, Former Principal Violist
of the Cleveland Orchestra and the Detroit Symphony, Lectured on “The Recording Industry
and Studio Work.”. . . .

The Viola in 1989

327

Plate 138. Pamela Goldsmith, Violist, with Mitchell Peters, Percussionist, Performers of
Michael Colgrass’ Variations for Four Drums and Viola.

Plate 139. Csaba Erdelyi, University of Indiana, Recital and Master Class.

328

The History of the Viola

Plate 140. Karen Tuttle, Master Class and Illustrated Lecture: “Viola Pedagogical
Techniques”.

chaired by President David Dalton, meeting every morning during break¬
fast, completed and ratified a new Constitution for the Society. Dwight
Pounds was chairman of the committee that had prepared the original draft
of the new Constitution.

At the final banquet of the Congress Henri Temianka, violinist and
conductor, gave a talk full of personal nostalgia and good humor which was
very much enjoyed by the audience. Plaques were presented by President
Dalton to various deserving persons, including Leila Riley (Mrs. Maurice W.
Riley) in recognition of her long-time interest in and committment ot the
American Viola Society.

Bratschistentag

A Bratschistentag was held October 28, 1989, in Wurzburg, Germany.
Egon Sassmanshaus, publisher of Viola Schule, was the host-chairman.
Events pertained to music dedicated to viola-pedagogy. Jurgen Kussmaul
and Anton Weigert performed J.S. Bach’s Brandenburg Concerto No. 6.

The Viola in 1989

329

Plate 141. Dr. Dwight Pounds, Vice-President of AVS, Illustrated Lecture, “The History
of the American Viola Society”.

The Third Maurice Vieux Viola Competition

The 3eme Concours International de l’Alto Maurice Vieux was held
March 7-12, 1989, in Orleans, France. The winners were:

1st Prize — Andre Gridtchouk, U.S.S.R.;

2nd Prize — Tomoko Ariu, Japan;

3rd Prize — Pierre Lenert, France.

330

The History of the Viola

The 38th West German Radio International Music Competition

The 38th Internationaler Musikwettbewerb De Rundfunkanstalten Der
Bundesrepublik Deutschland was held September 5-22, 1989, in Munich,
West Germany. The winners in the viola section of the competition were:
1st Prize — not awarded;

2nd Prize — Hideko Kobayashi, Japan;

3rd Prize — Tomoko Ariu, Japan, and-

— Roberto Diaz, Chile and U.S.A.

CHAPTER XXX

THE VIOLA IN 1990

The XVIII IVG Congress

TFhe XVIII International Viola Congress was held in Lille, France, May
31-June 3. It was hosted by Les Amis de l’Alto (the French Chapter of IVG).
The following report of the XVIII Congress is based on programs furnished
by Albert Azancot of Paris, France. The theme of the Congress was, The
Viola in French Music and the Franco-Belgian School. The theme was par¬
ticularly emphasized on the third day of the Congress when everyone trav¬
elled across the border into Brussels, Belgium, where the day’s activities
were held at the Brussels Conservatory. The international scope of the
Congress included a concert from the United States given by the Brigham
Young University Chamber Orchestra, Clyn Barrus, director, on the first
evening of the Congress. They performed the J.S. Bach Brandenburg
Concerto, No. 6, with Nancy Call and Joel Belgique, soloists; Trauermusik
by Hindemith, Joel Belgique, Viola; Love and Death: Four Elizabethan
Lyrics, (1981) by Merrill Bradshaw, for Soprano, Viola, and Strings with
Donna and David Dalton, soloists; and Variations for Viola and Orchestra
(1941) by Alan Schulman, Clyn Barrus, soloist.

The Congress opened in the afternoon of May 31 at the Conservatoire
de Lille in the Edouard Lalo Auditorium with a lecture by Frederic Laine,
“The Viola in France during the 19th Century.” Chretien Urhan and L.
Casimir Ney (Louis Casimir Escoffier) were given special credit for their
leadership in performance and for their compositions

The lecture was followed by a concert which included Prelude, Recitatif
et Variations by M. Durufle, played by Bernard Gaudfroy, viola, Patrick
Gallois, flute, and Alain Raes, piano; Sonate by Jacques Casterede, played
by Marie-Therese Chailley, viola, J. Casterede, piano; D’Une Sphere a
V Autre by M. Deneuve, played by J.C. Dewaele, electric viola.

On the morning of the second day, June 1, the Congress began with an
illustrated lecture by Serge Collot: “The Technical Heritage of the Franco-
Belgium School.” He was assisted by two students from the Conservatoire
de Lille.

331

332

The History of the Viola

At noon an ensemble comprised of P.H. Xuereb, Viola, P. Gallois,
flute, and F. Pierre, piano, performed Trios by C. Debussy and A. Louvier.

In the afternoon Etienne Vatelot, the famous French luthier and bow
maker, gave a lecture entitled, “The Viola Today and in the Future. ’’Also,
Contemporary Music for 1, 2, and 3 Violas by Henri Pousseur, Tristan
Murail, and Eric Sprogis was performed by Jean Sulem, Garth Knox, and
Michel Michalakakos.

In the evening the Trio a Cordes de Paris comprised of M. Michalaka¬
kos, Viola, Ch. Frey, violin, and J. Grout, cello, gave a concert of works
composed by D. Milhaud, Ton Ta Thiet, P. Dusapin, M. Carles, and A.
Roussel.

On June 2, the Congress journeyed by bus to the Conservatoire de
Bruxelles where the day’s events took place. These programs opened with a
concert by the Viola students of Professor T.M. Gilissen which featured
works by H. Vieuxtemps, J. Jongen, V. Legley, M. Poot, G. Longree, and
P.B. Michel. This was followed by a lecture, “The Franco-Belgian School
of Viola,’’ given by J.P. Muller, Professor Emeritus of the University of
Brussels. The lecture was followed by a conducted tour of the great
Conservatoire Museum of Instruments, which also included an exhibit of
violas by Belgian luthiers.

The evening concert presented T.M. Gilissen, violist, accompanied by
J.C. van den Eyden, pianist. They performed Sonatas by H. Vieuxtemps, F.
Quinet, and C. Franck.

On Sunday morning, June 3, in Lille, the program began with a seminar
of French composers, including Betsy Jolas, Serge Nigg, Claude Henri
Joubert. Their viola compositions were played by S. Toutain, P. Lenert, and
L. Verney. A premier performance was given of Piece pour 4 Violas by
Joubert.

In the afternoon the final concerts featured the following compositions
by French composers, listed with the artists who performed the works:
D. Milhaud, Les 4 Visages, J.F. Benatar, viola, B. Vandome, piano; A.
Bancquart, Sonate pour alto seul, T. Coman, viola; E. Chausson, Piece pour
alto et piano, N. Bacri, Quasi Variazioni, J. Martinon Rhapsodie, No. 72, all
performed by L. Verney, viola, F. Killian, piano; A. Lemeland, Sonate pour
alto seul, J. Dupouy, viola; A. Jolivet, 5 Eglogues, M. Vieux, 2 Etudes, both
performed by P. Lenert, viola; C. Franck, Sonate, version originale, J.B.
Brunier, viola, B. Vandome, piano; A. Honegger, Sonate, E. Cantor, viola,
S. Staetter, piano; C. Koechlin, Sonate, B. Pasquier, viola, B. Vandome,
piano.

The ASTA Viola Competition

The Sixth American String Teachers Association Solo Competition was
held at the University of Maryland, March 29-30. Karen Tuttle was the

The Viola in 1990

333

judge for participants of the two levels of the competition. The winners
were:

In the Pre-College Division:

1st Prize, $800.00 — Amalia Daskalakis, Boston, Massachusetts.
Finalists — Jessica Nance, Ann Arbor, Michigan, and Allison Farrow,
San Diego, California.

In the Pre-Professional Division:

1st Prize, $1,000.00 (“The Georges Janzer Memorial Award”) — Ming
Pak, Oberlin, Ohio.

2nd Prize, $500.00 — Susan Dubois, Los Angeles, California.

Finalists were — Henry Lee, Vancouver, British Columbia, Canada, and
Jeremy Gershfield, Ann Arbor, Michigan.

AVS Board Meeting Held in Jackson Hole, Wyoming

For the first time an AVS Executive Board Meeting was scheduled
during the year between Congresses. It was held June 16-20 in Jackson
Hole, Wyoming, in the shadow of the beautiful 13,000 feet high Grand
Teton Mountains. Board members in attendance were Dr. David Dalton,
Alan de Veritch, Dr. Rosemary Glyde, Dr. Pamela Goldsmith, William
Magers, Donald Mclnnes, Dr. Robert Oppelt, Dr. Maurice W. Riley,
Thomas Tatton, Emanuel Vardi, and Dr. Ann Woodward. The group met for
three days to work on new goals for the AVS and to begin planning for the
1991 Viola Congress, which will be held on the campus of Ithaca College, in
Ithaca, New York.

The daily meetings were presided over by the outgoing President,
David Dalton, and the newly elected President, Alan de Veritch. Other
new officers include: Harold Coletta, vice-President; Pamela Goldsmith,
Secretary, and David Dalton, past-President. Rosemary Glyde remained
Treasurer. All of those present agreed that the bi-annual meeting was highly
successful and should be continued as a permanent policy of the AVS
Executive Board. Maurice W. Riley, past-president, was made an honorary
member of AVS.

Viola d’Amore Society Congress

The 4th International Congress of the American Viola d’Amore Society
was held at the Shrine to Music Museum on the campus of the University of
South Dakota, in Vermillion, South Dakota, July 6-8. Andre Larson was
host chairman.

334

The History of the Viola

Plate 142. Presidents of AVS: David Dalton, 1986-89; Maurice W. Riley, 1981-86; Alan de
Veritch, 1989 — ; Myron Rosenblum, 1971-81, (not present); at AVS Board Meeting, Jackson
Hole, Wyoming, June, 1990.

Viola Symposium in Germany

The German Chapter of the IVG had a very successful symposium at
the Bundesakademie fur Judenfillung in Verbindung held in Trossingen
(Black Forest), West Germany, September 20-23. Besides violists from all
over Europe, many musicians attended from what was formerly East
Germany, particularly from Dresden and Leipzig. Uta Lenkewitz-v. Zahn
wrote that “for them the meeting was quite overwhelming, and the German
Chapter (formerly West German) won a lot of new members. All the papers
which were read will be published.” Next year the Symposium will meet in
Dresden.

The Viola in 1990

335

Plate 143. “Three Generations of British Violists”, Dr. Watson Forbes, Aeolian Quartet;
who taught John White, Alberni Quartet; who taught Martin Outram, Maggini Quartet.

Gasparo Da Said Celebration

The Gasparo da Said Celebration was held in Said, Italy, October 5-7.
It was sponsored jointly by the City of Said and the Department of Culture
of the Province of Brescia. The activities included concerts by the Concerto
del Groppo Sonatori de la Gioiosa Marca, and lectures by luthiers and
musical scholars dealing with 16th and 17th century music as related to the
Brescian School of Violin Making.

British Viola Festival 1990

The three-day British Viola Festival held in London, November 2-4,
1990, featured students of John White, Professor of Viola at the Royal
Academy of Music. In addition to the many performances of solo recitals and
concerts for multiple violas, tributes were paid to Dr. Watson Forbes and to

336

The History of the Viola

Harry Danks for the many years they have devoted to promoting the viola,
and to their dedication to high standards for viola performance.

Another purpose was to aid the International Tertis Viola Competition
to be held at Port Erin, Isle of Man, August of 1991, The concerts raised
£1000.

The artistic success of this Viola Festival resulted in The London
Observers giving a half-page complimentary account reporting the event.

CHAPTER XXXI

THE PAST AND FUTURE
FOR THE VIOLA

ith the publication of The History of the Viola, Volume I and Volume
II, Violists, for the first time, now have a recorded history of their instru¬
ment. This they did not have before 1980.

Protagonists of the Viola

The FRONTISPIECE of this book is entitled, “ Five Giants of the
Viola,” Maurice Vieux, (1884-1957), Paul Hindemith (1895-1963), William
Primrose (1904-1982), Vadim Borissovsky (1884-1957), Lionel Tertis
(1876-1975). It could be argued that there are many others who have given
great service and committment to the Viola. Below are listed just a few
additional violists, from different nationalities, who have contributed much
to the status of the viola.

Some of the outstanding violists who led the way in the late 18th and
19th centuries were Karl Stamitz (1746-1801) and his brother Anton Stamitz
(1754-1809?) of Czech-German descent; Alessandro Rolla (1747-1841) of
Italy; and Chretien Urhan (1790-1845) of France. Spanning the 19th and
20th centuries was Hermann Ritter (1849-1926) of Germany. Among the
protagonists in the early 20th century have been: Ladislav Cerny (1891-
1973), Czechslovakian; Renzo Sabatini (1905-1973), Italian; Pal Lukacs
(1919-1981), Hungarian, and Franz Zeyringer (1920-), Austrian. Also, in
the 20th century, there are many more “ Giants of the Viola, ” who continue
to make their contributions as performers, teachers, composers, editors,
transcribers, amateurs, and others who promote the viola.

As chronicled in PART THREE of this book, many wonderful things
have happened in the realm of the viola during the decade 1980-90. There
is every indication that the last nine years of the 20th century, 1991-2000,
will be even more eventful: leading to an on-going productive future for the
viola.

The viola will continue to be one of the ideal instruments for amateur
musicians who play for the sheer pleasure and satisfaction of participating in
chamber music groups and/or in orchestras.

337

338

The History of the Viola

For professional violists the future offers several possible careers. Op¬
portunities for a career as a concert soloist are still limited to a very small
number of assertive violists. This situation, however, continues to improve
as violists gain more prestigious reputations as performers. Opportunities
are particularly favorable for violists who have positions on college faculties,
where solo performance is required as a part of the teacher’s assignment.
Principal Violists in Symphony Orchestras are getting opportunities for
solo performances as more and more significant works are composed for the
viola.

Careers as a member of a professional string quartet present desirable
and rewarding positions for violists who love to perform chamber music.
String quartets that are experiencing problems of survival due to financial
difficulties can obtain help from the CMA (Chamber Music of America). This
organization will supply information regarding available funding from spon¬
sors, government agencies, and arts organizations. It is no longer necessary
for a string quartet to be a part of a college faculty to insure financial security
for its members.

Violists who participate in competitions receive the publicity and the
exposure needed for establishing a foothold to a successful career. In addi¬
tion to the monetary award, winners of competitions usually are given the
opportunity to perform with famous orchestras, and also receive recording
opportunities with major labels. Among the most prestigious competitions
for violists are those named for and honoring three of the great violists:
Lionel Tertis, Maurice Vieux, and William Primrose. Also, two of the most
famous competitions are those held in Geneva, Switzerland, and Munich,
Germany. The American String Teachers Association has developed a
desirable innovation for its biennial competition. It is now divided into
two age levels: Pre-College Division and Pre-Professional Division. The
Competitions awarding the largest monetary prizes are the Annual Friday
Morning Music Club Foundation Competition; and the Walter W.
Naumburg Foundation Competition (which in 1991 will honor the memory
of Paul Doktor and Saul Greitzer). Both of these latter Competitions award
a First Prize of $6,000.

Teaching strings and conducting student orchestras in the public and
parochial schools present many job opportunities for violists. The Suzuki
method of teaching stringed instruments has given new life to many public
and parochial school string programs. It is even possible to teach the viola as
a beginning instrument, if the teacher believes that this is desirable. The
beginning Suzuki violin books have been transcribed and are available for
viola.

A good omen for the ever-increasing musical stature of the viola is the
importance several of the most outstanding composers of the 20th century
have attached to the beautiful sound of the instrument. This is discussed in

The Past and Future for the Viola

339

an article written by the French violist Pierre-Henri Xuereb.1 He points out
that it is highly significant that each of the three following composers wrote
his last work for the viola:

Bela Bartok, Concerto for Viola and Orchestra (1945);

Ernest Bloch, Suite for Viola Solo, (1950), (The Fourth Movement was
not finished due to an interruption caused by major surgery); and

Dimitri Shostakovich, Sonata for Viola and Piano (1975).

These compositions by Bartok, Bloch, and Shostakovich constitute im¬
portant additions to the violist’s repertoire, as do many excellent works
coming from the pens of some of our other foremost contemporary compos¬
ers. Violists now have an enviable amount of their own solo literature to use,
and they can anticipate even more.

In concluding PART THREE of this book it is appropriate to look back
and mention a few of the individuals who have contributed so much of their
talent and themselves to the viola, and who have departed from us during
the last decade.

1Pierre-Henri Xuereb, “The Viola: Instrument of Maturity,” The Journal of the American Viola Society,
Vol. 7, No. 1.

340

The History of the Viola

IN MEMORIAM

(See also biographies of these violists in Volume I and Volume II.)

MAX ARONOFF (1906-81). Teacher of viola at the Curtis Institute;
violist in Curtis String Quartet; founder and Director of The New School of
Music in Philadelphia.

PAL LUKACS (1919-81). Hungarian viola virtuoso. Dedicated teacher
of many artist-performers at the Franz Liszt School in Budapest.

WILLIAM PRIMROSE (1904-82). Dean of 20th Century violists—
concert artist-soloist, chamber music performer, editor of many works for
viola, distinguished teacher, protagonist for the viola.

FRANQOIS DE BEAUMONT (1932-82). A Swiss medical doctor who
was an avid collector of viola recordings. Published Viola-Discographie in
1975, 1976; and Lionel Tertis (1876-1975) Discographie, 1975.

FRANCISCO N. BERLINGER. Died 1983 in Buenos Aires,
Argentina. Principal Viola in Orquestra del Teatro Colon.

WILLIAM WALTON (1902-83). Composer of one of the most signif¬
icant Concertos in the violist s repertoire.

WALTER LEBERMANN (1910-84). Editor of many important histor¬
ical works for the viola that had long been out of print. Meticulous scholar.

GORDON JACOB (1895-1984). Eminent English composer who wrote
works for the viola including two Concertos.

BERNARD SHORE (1896-1985). Student of Lionel Tertis, artist-per¬
former, scholar, and distinguished teacher.

FERENC MOLNAR (1896-1985). Musician, solo violist, chamber mu¬
sician, and orchestral violist, and mechanical engineer.

PIERRE PASQUIER (1896-1985). Student of Maurice Vieux. Artist
performer and dedicated teacher.

GERMAIN PREVOST (1891-1987). Distinguished Violist of Belgian
Pro Arte String Quartet. Stravinsky and Milhaud composed solos for him.

PETER SCHIDLOF (1902-87). Student of Max Rostal. Founding
member Amadeus String Quartet in which he established a high standard for
all quartet-violists to emulate.

LADISLAV MIRANOV (1900-89). Born in Czechoslovakia, but his
career as a violist was in Zagreb, Yugoslavia, where he was a chamber music
player, composer, and teacher.

PAUL DOCTOR (1919-89). Teacher at Juilliard of many outstanding
students; editor, scholar, and artist performer.

SOL GREITZER (1925-89). Principal violist of New York Philhar¬
monic 1973-84. Many works for viola dedicated to this brilliant soloist.
Influential teacher.

GEORGES JANZER (1914-89). Followed Primrose at Indiana
University where he taught many artist students.

The Past and Future for the Viola

341

NANNIE JAMIESON (1913-90). English violist, who as a member of
the faculty at Guildhall School of Music, became famous and in demand
world-wide as a teacher of viola; also assisted Max Rostal and Yehudi Menu¬
hin.

LOUIS KIEVMAN (1910-90). Quartet violist; studio violist; member of
N.B.C. Symphony (Toscanini); outstanding teacher, lecturer; author and
publisher of important teaching materials.

342

The History of the Viola

The future of the Viola depends upon the Violists themselves!

But here is the finger of God, a flash of the will that can,

Existent behind all laws, that made them, and, lo, they are!

And I know not if, save in this, such gift be allowed to man,

That out of three sounds he frame, not a fourth sound, but a star.

Consider it well: each tone of our scale in itself is naught;

It is everywhere in the world — loud, soft, and all is said:

Give it to me to use! I mix it with two in my thought:

And, there! Ye have heard and seen: consider and bow the head!

from Abt Vogler,
by Robert Browning

PART FOUR

APPENDIX

BRIEF BIOGRAPHIES OF VIOLISTS

INTRODUCTION

PART FOUR of The History of the Viola, Volume II is an APPENDIX
containing “Brief Biographies of Violists”. The “Brief Biographies” are
highly abbreviated and without photographs. They are presented in this
format to save space. Otherwise the number of pages required would have
increased the cost of producing this book, resulting in a prohibitive retail
sales price.

The biographies presented in PART FOUR include the violist’s training
and professional accomplishments. Due to the imposed brevity of the biog¬
raphies, the individual personalities and the dedication of the violists can
only be surmised by the reader.

No doubt, without exception, the violists whose names appear in this
APPENDIX have biographies that could easily be expanded into interesting
life stories that would fill a chapter or even an entire book. Unfortunately
space considerations preclude presentation of this much material for each
violist. However, to show the potential of these biographies, three have
been selected which are presented in a more detailed format. The three
violists chosen to illustrate these possibilities are Ferenc Molnar, Virginia
Majewski, and Stefan Todorov Sugarev.

Ferenc Molnar emigrated to the United States from Hungary after
World War I and found opportunities for a professional career that were not
available in Europe. Violists in the United States were the richer because
Molnar shared his musical talent by his performance artistry, and also by his
skills as a teacher. Many other violists from foreign countries have emigrated
to the United States and have had a profound influence on developing the
art of viola performance, including William Primrose from Great Britain.
Among the many violists who emigrated to the United States after World
War II were Robert Courte from Belgium; Paul Doktor from Austria; and
Walter Trampler and Ernst Wallfisch from West Germany.

Virginia Majewski has had a successful career in Hollywood, where she
was soloist on the viola and the viola d’amore in major studio orchestras that
produced sound tracts for motion pictures. In Hollywood her talents were
recognized and rewarded at a time when most symphony orchestras usually
did not hire women; or if they were hired, they were relegated to the back

345

346

The History of the Viola

chairs in the section. Majewski was one of the pioneers in opening the door
of equal opportunity for women. Today, in 1990, women are in Principal
Viola chairs of several of the major orchestras in the United States. Among
these are Ellen Rose, Dallas Symphony; Marna Street Ramsay, Cincinnati
Symphony; Cynthia Phelps, Minnesota Symphony; and Geraldine Walther,
San Francisco Symphony.

Stefan Todorov Sugarev could correctly be called the “Father of Viola
Performance in Bulgaria.” He was a pioneer in winning recognition for his
chosen instrument. An artist violist, he was also highly successful as a
teacher at the Sofia Academy of Music. His artistry as a performer inspired
Bulgarian composers to write and dedicate works to him. The author is
indebted to Dr. Burkhard Forbrich, a medical doctor and magistrate from
Leek, Germany, for furnishing the biographical material regarding Sugarev.
Dr. Forbrich and I met at the X International Viola Congress, in Stuttgart,
Germany, in June 1982. We discussed the difficulty of obtaining information
about violists in countries behind “The Iron Curtain.” I mentioned Sugarev
as an example of a very significant violist who was almost unknown outside
of his own country. Dr. Forbrich replied that he would try to obtain infor¬
mation for me about Sugarev. In a Letter dated November 6, 1982, he
wrote, “Recently I met a Bulgarian pianist, Frau Liliana Stefanove. I told
her about Sugarev, and that Walter Lebermann had mentioned him in his
Stuttgart report on the authenticity of certain viola concertos, and that you
were collecting biographies of prominent violists. She later sent me a letter
with the information that follows. She got the details about Sugarev from
Emil Abadjiev, her friend who was the first student of Sugarev. ”

FERENC MOLNAR (1896-1985)

Ferenc Molnar was born in Budapest, Hungary in 1896.* 1 From an early
age he demonstrated a precocious genius for both the violin and for the skills
of mechanical engineering. His education was interruped in 1914 by World
War I, when he was called to serve as a Lieutenant in the Austro-Hungarian
Army.

A few months after the outbreak of hostilities, he was captured by the
Russians and sent to a Siberian prisoner-of-war camp. Finding himself with¬
out music for the first time, he built a violin from the dried wood of his bunk,
and from wires he found in the camp. Several other prisoners followed his

lrrhis Ferenc Molnar should not be confused with the Ferenc Molnar, famous journalist, playwright, and
novelist, who was born in Budapest, January 12, 1878. He became a war correspondent during World War

I, moved to the United States in 1940, and died in New York City, April 1, 1952.

Appendix I

347

lead and the camp soon had a small orchestra and chorus. Visiting officials of
the International Red Cross were so impressed by the sight of the prisoners
playing on these crude instruments that they arranged to have standard
instruments sent to the camp from neutral countries. He kept the violin as
a momento. It is now in the possession of his daughter, Ava Molnar (Mrs.
Gernot Heinrichsdorff) of Colorado Springs, Colorado.

In 1919 when the war was over, Molnar was released, after having lived
four and a half years in prisoner-of-war camps. He returned to Budapest and
finished his education in music and in engineering. He received a Diploma
in Music from the Franz Liszt Academy of Music and a Diploma in
Engineering from the University of Technology in Budapest.

While he still lived in Budapest, Jeno Hubay and Zoltan Kodaly invited
him to play trios with them, and assigned him to the viola. This was a new
experience for Molnar, and although he did not know the viola clef, he
managed to learn it well enough to give a creditable performance. He was so
enamoured by the tone quality of the viola that he immediately became a
lifelong convert to the instrument. About this time he married Maria
Rosthy, a journalist.

Hoping to start a career in music Molnar moved to Paris. With chamber
music groups he toured Europe, 1923-24, playing both the violin and the
viola. Finding few opportunities for a career in either music or engineering,
he emigrated to to the United States, where he settled permanently, and
became a citizen.

In addition to his busy life in music, Molnar kept abreast of the latest
developments in the field of mechanical engineering. During World War II
he was Professor of Music and Professor of Mechanical Engineering at
Stanford University where he taught engineering to armed forces, and par¬
ticipated in the design of the 100 kilovolt electronic microscope, 1942-44.

Molnar also taught viola at Princeton, Mills College, and San Francisco
State University.

Molnar’s artistry as a performer on the viola was soon recognized and
brought him prestigious appointments, first as a founding member of the
Roth String Quartet, an organization that made successful worldwide tours
from 1926 to 1939. Then he became violist in the San Francisco String
Quartet, 1939-45. This was followed by his being appointed Principal Violist
of the San Francisco Symphony by the distinguished conductor, Pierre
Monteux, a position he held from 1944 to 1964.

During summers he continued to pursue his interest in chamber music.
He was a member of the June Festival String Quartet at Albuquerque, New
Mexico; and the Colorado Springs Festival Quartet. He founded also the
Masson Music Festival at the Vineyard Concerts in Saratoga, California;
headed summer festivals in Switzerland and Italy; and served as a judge of
competitions in Hungary.

348

The History of the Viola

Plate 144. Ferenc Molnar.

He was the first director of the Stern Grove Concerts. At San Francisco
State University, in 1953, he helped found and was director of the Chamber
Music Center endowed by the May Treat Morrison Music Foundation. He
was responsible for the achievement of the highest possible standard of
musical performance from all of the chamber music groups sponsored and
presented in free concerts at the Chamber Music Center. He retired from
music in 1970, giving away or selling all his music collections and instru¬
ments. However, Molnar’s artistic standards still continue today to guide the
Chamber Music Center: “To offer the finest music in the most accessible
way.”

Twenty-one compositions were written for and dedicated to Molnar or

Appendix I

349

the Quartets in which he played, including Alan Hovhannes, Talin Viola
Concerto (1952); Ernst Krenek, Sonata for Viola and Piano (1948); and Ellis
Kohs, Nocturne for Viola and Piano.

Among his many memorable concerts were those with violinist Louis
Kaufman. They played Mozart’s Symphony Concertante, KV 364, with the
Los Angeles Philharmonic, the Honolulu Symphony, and the Inglewood
Symphony. He recorded with Columbia, Victor, and Argo. His viola was the
ex-Primrose Brothers-Amati, c. 1600.

Molnar, with his unselfish desire to always share his ability, talent, and
knowledge, made incalculable contributions to the numerous activities in
which he was involved. Molnar deserves praise not only for his undimin¬
ished musical skill but also for his persistent enthusiasm and the verve that
characterized his career.

When he retired, in 1970, he gave a farewell concert at the San
Francisco State College to a full house. The standing-room-only audience
included friends and admirers from New York, Alaska, Los Angeles, Texas,
and elsewhere. He and his wife, Maria, a novelist, moved to Rossmoor, a
retirement community in Walnut Creek, about 30 miles east of San
Francisco, a move they both thoroughly enjoyed.

After that he sold his Amati viola and gave away his records and music.
Then at the age of 70 he started to take lessons in oil painting. He very
quickly became expert in still life, landscape, abstract, and even portraiture.
He won several prizes with his paintings.

All his life he had been a champion chess player. He and his good
friend, William Primrose often played chess, to their wives’ dismay, all night
before one to the other of them had a concert. After retirement he began to
find chess too long and too slow a game, particularly when his opponents
took endless time to consider each move. He took up bridge, and very
quickly became a Master.

In 1980, he began to attend concerts again, to listen to his stereo, and
occasionally to give a viola lesson. He also helped and encouraged Maria in
her writing of novels. However, it was through painting that he expressed
his genius during his last fifteen years.

Molnar died on May 10th, 1985, at the age of 89. Only the day before
he had taken his usual daily walk. Complying with his request there was no
funeral service.

He was truly a “Renaissance Man.”

VIRGINIA MAJEWSKI

Virginia Majewski comes from a musical background. Her father, Otto
Majewski, was of Polish descent. He emigrated to the United States from

350

The History of the Viola

Germany to avoid military service there, but then, ironically, on finding it
impossible to obtain steady employment here in the United States, he joined
the United States Army. He was stationed as Band Director at Ft. Benjamin
Harrison, near Indianapolis, Indiana. In order to take lessons in music the¬
ory and harmony, he went into Indianapolis to Conductor Ferdinand
Schaefer, founder of the Indianapolis Symphony. Majewski gained such
respect for Schaefer that he had his daughter, Virginia, take violin lessons
from him. Her father made sure that she practiced! (Was there ever anyone
who accomplished much whose parents did not direct them in some way
when they were children?)

After finishing college Virginia attended the Eastman School of Music,
Rochester, New York, where she studied violin with Gustave Pinlot. She
had never had any experience with the viola or its clef, but the Chamber
Music Professor Paul Kefer, a cellist, assigned her to play both violin and
viola in his classes. Virginia’s viola playing so impressed Kefer that he ar¬
ranged an audition for her at the Curtis Institute of Music. There she was
accepted and given a scholarship to study viola with Louis Bailly.

To help pay for her schooling at Eastman she worked in the kitchen of
the girl’s dormitory, where she washed dishes and waited on tables. At
Curtis Institute she could not do extra work because her music required her
full effort.

At Curtis she did well under Bailly. Because of her childhood training
by her Prussian Bandmaster Father, she certainly had been made able to
profit from Bailly s idiocyncracies and strictness. She accepted his unusual
methods of teaching, for example, the red-light-green-lights he had on his
music stand to indicate to students when to play and when to stop. She
comments that this was a very effective way to keep control without having
to shout.

She still uses the Bailly chin rest. It extends over the tail-piece, because
he wanted the player’s nose to point in line with the scroll. It brought the
viola around to the front of the player. He thought this gave the player better
control. He also advocated a large size viola, 44.5 cm. (17 1/2 in.), which she
says has never caused her any discomfort.

Bailly, for some reason, cancelled Virginia’s graduation recital. When
Mrs. Bok, the Patroness- Angel-Founder of the Curtis Institute, heard about
it, she loaned Virginia a viola and assigned Boris Godowsky, pianist, to work
with her over the summer in Maine. When Virginia had her recital ready,
out of respect for Bailly and for the help he had given her, she invited him
to hear her. He candidly remarked that she seemed to have done very well
without him.

After graduating from the Curtis Institute, Miss Majewski looked for a
position playing in one of the symphony orchestras. It was at a time when
women were not generally accepted in the major orchestras. Fritz Reiner,

Appendix I

351

the new conductor at Pittsburgh, told her that she was too short and would
create a bad appearance. He did, however, offer her a job in the Pittsburgh
Symphony; but the season was short, she did not own a viola, and she had
no money. “She was good, but, since at that time women were not consid¬
ered for a position in one of the major orchestras, she went to Hollywood
where she did much better,’’ reported Leonard Mogill, one of her male
colleagues at Curtis who was accepted into the Philadelphia Orchestra.

The Curtis Institute loaned her a viola that she used throughout her stay
there. After her graduation, Mrs. Bok learned that Majewski did not own a
viola, so she made it available for one more year. Then Mrs. Bok made it
possible for her to buy it at a fraction of its actual value.

Finally, having acquired a viola, she was able to go to Los Angeles and
soon gained the reputation of being a reliable artist-performer. In 1939
Toscha Seidel arranged an audition and from it she became Principal Viola in
the Metro- Goldwyn- Mayer and the Universal Motion Picture Studio Or¬
chestras in Hollywood. At the same time she also played and recorded
chamber music with the elite musicians in the area, including Heifetz,
Piatigorsky, Primrose, Rubenstein, Rostropovich, Milstein, Szigetti, Seidel,
Elman, Menuhin, Bay, Penarrio, and others.

At the Curtis Institute she was a member of the Trio Classique (violin,
flute, viola). After graduation, she was a member of the Marinanne Kneisel
Quartet. In California she was a member of the Ancient Instrument Trio
(viola d’amore, gamba, harpsichord); of the Pilgrimage Concerts (Heifetz,
Piatigorsky, Primrose, and others, — often recorded); and a founding mem¬
ber of the American Art String Quartet. This Quartet played a concert with
Artur Schnabel, and was featured with the Indianapolis and La Jolla
Symphonies. It also recorded the Mozart Clarinet Quintet with Benny
Goodman. Playing both viola and viola d’amore she recorded works with
Larnindo Almeida, guitar. In 1962, with Larnindo Almeida and Vincent
DeRosa, she was a nominee for the Naras Awards for best classical perfor¬
mance for a recording entitled: The Intimate Bach.

With Arthur Gleghorn, flute, and Shibley Boyes, piano, she performed
the Paul Creston Trio, Op. 56, commissioned for the group by the Coleman
Series in Pasadena. Ms. Majewski in describing the piece writes, “Creston
wrote well for the viola.” Together with Eudice Shapiro, violin, and Victor
Gottlieb, cello, she performed the Ernst Toch, Trio, Op. 65, from manu¬
script, in a Museum Concert.

In addition to solos for viola, several of the scores of the motion pictures
called for her to play the viola d’amore. In the film Atlantis (1955) the music
was composed and directed by Michel Michelet. The score includes several
solo passages for the viola d’amore.

In the film On Dangerous Ground (1951), Bernard Hermann, who
composed the music and directed the orchestra, gave the very sensitive

352

The History of the Viola

Plate 145. Virginia Majewski with Composer-conductor Bernard Hermann, photograph
taken in 1951.

theme of the blind girl (played by Ida Lupino) to the viola d’amore. The
theme occurs each time the blind girl appears in the film. Hermann was so
impressed by Ms. Majewski’s beautiful performance that he insisted that her
name and instrument appear beneath his on the introductory credits to the
film.

Virginia, who has had to work very hard for what she has achieved, has
maintained a cheerful outlook on life and does not sympathize with those
who complain. Paying her own way through her schooling made it necessary
to make compromises and to work at many menial jobs. Virginia’s philosophy
of: “You do what you have to do,” causes her to disdain those people who
complain and find fault. She has maintained great personal resiliency and an
overall pleasant outlook on life.

Appendix I

353

Ms. Majewski owns and plays one of the Gasparo da Said violas that
formerly belonged to her teacher, Louis Bailly. Her viola d’amore, from the
Eric Lachman Collection, was made by Antonnis Klor, Prague, 1753.

STEFAN TODOROV SUGAREV (1907-1958)

STEFAN TODOROV SUGAREV was born in Samokov, Bulgaria, in
1907 and died 1958 at Sozopol, Bulgaria. His family were amateur musi¬
cians. As a youth he played the violin and the piano. In 1926 he was sent to
Paris to study at the Schola Cantorum with Professor Kenau. He returned to
Bulgaria to study at the Sofia Academy of Music with Professor Sasha Popov,
1930-1933. After playing violin in the Bulgarian State Opera Orchestra in
Sofia 1934-37, he became Principal Viola in the Royal Symphony Orchestra
1938-58. He was appointed Professor of Viola at the Sofia Academy of Music
in 1947, the first time a “Professor of Viola” had been designated in Bulgaria.
He was also Professor of Chamber Music and Head of the String Faculty.
From 1934 he performed concertos with orchestras, and made many record¬
ings under the Radio Sofia label. He had a large repertoire of Bulgarian Viola
music. As a concert soloist he introduced the Viola Concerto into Bulgarian
culture. From his student days he was always active in chamber music,
subsequently forming a string quartet with Wassil Stefanov, (now GMD of
Radio Sofia Symphony Orchestra), Wassil Lolov (now prominent composer
and conductor), and G. Konstantinov. Sugarev played many Sonata Recitals
with pianists Professor P. Pelischek, Professor L. Atanossova, and V. Savova.
He was author and editor of many viola works for students and revisions of
viola music. Many of Bulgaris’s leading performers and teachers were his
students. The first of his outstanding students was Emil Abadjiev, 1945-51,
who is now a Professor in the Sofia Music Academy.

Sugarev, along with Plovdiv, experimented with Swedish steel for mak¬
ing strings, which are now much in use in Bulgaria. He commissioned Ivan
Kaioferov to make a “Tertis” model viola, the first of that model to be
produced by a Bulgarian luthier.

Forbrich describes Sugarev as a fine, universal person who is remem¬
bered with love and respect. He was drowned in the Black Sea at Sozopol
while saving his daughter’s life.

MUSIC BY BULGARIAN COMPOSERS,
DEDICATED TO STEFAN SUGAREV

For Viola and Piano:

Pansche Wladigerov (1899-1980), Tale.

354

The History of the Viola

Nayden Gerov (1910-), Aria.

Georg Tscherkin (1903-76), Sevdana.

Lazar Nikolov (1922-), Sonata.

Ivan Spassov (1933-), Sonata.

Vassil Kasandjiev (1934-), Prelude and Fuga.

For Viola Solo:

Marin Goleminov (1908-), Petite Suite.

Peter Christoskov (1915-), Caprice.

Alexander Paitschev (1922-), Aria.

Sugarev also performed many of his own transcriptions and arrange¬
ments of works by Bulgarian composers.

BRIEF BIOGRAPHIES OF VIOLISTS

VIOLISTS whose biograpphies have been inadvertantly omitted from
both those in Volume I and Volume II, and those who wish to bring their
biographies up-to-date should send this information, as soon as possible, to
the author, address below. The new bioigraphies, and the up-dated material
will be included in the revised edition of Volume I, which will be published
in the fall of 1991.

Dr. Maurice W. Riley

512 Roosevelt Blvd.

Ypsilanti, MI 48197.

ABBREVIATIONS

(Reader: Also please note the USA Post Office authorized 2-letter state
abbreviations.)

to present

ASTA

American String Teach¬

ers Association

Acad

Academy

AVS

American Viola Society

Adjud

Adjudicator

Born

Amer

America, American

Bass

Contra-bass

Anon

Anonymous

B.A.

Bachelor of Arts

Arr

Arrange, Arrangement

B.M.

Bachelor of Music

Art Dir

Artistic Director

century

Assoc

Associate, Association

about as in c. 1700

Asst

Assistant, Assist

Cello

Violoncello

355

356 The History of the Viola

Chmb

Chamber

Edit, Editor, Edition

Chrp

Chairperson

Edu

Education, Educator

Cls

Class

Ens

Ensemble

CNSMP

Conservatoire National

Fac

Faculty

Superieur de Mu-
sique-Paris

Fest

Festival

Company

Flourished

Coll

College

Found

Founder, Founding

Com

Commissioned

France, French

Compt

Competition

Gr, Ger

Germany

Comp

Compose, Composer,

Grad

Graduate

Composition

Hst

Host

Cone

Concerto

Incl

Include, Including

Cond

Conduct, Conductor

Inst

Institute, Institution

Cong

Congress

Int’l

International

Cons

Conservatory, Conserva¬

toire

Instru

Instrument

Ctr

Center

IVG

Internationale Viola

Gesellschaft

Died

Lect

Lecture, Lecturer,

Ded

Dedicated

Docent

Dept

Department

Mbr

Member

Dipl

Diploma

M.M.

Master of Music

Dir

Direct, Director

Manuscript

DMA

Doctor of Musical Arts

Mstr-cls

Master-class

Biographies of Violists

357

Natl

National

Northern

NYC

New York City

O & P

Owns and Plays

Orch

Orchestra

Organiz

Organization

Performance

Phila

Philadelphia

Philh

Philharmonic

Ph.D.

Doctor of Philosophy

Pla

Players

Prem Pf

Premier Performance

Prep

Preparation

Pres

President

Priv

Privately

Prof

Professor

Pr Va

Principal or Solo Viola

Prz

Prize

Part

Pub

Publish, Publication

Quartet

RAM

Royal Academy of
Music, London

RCM

Royal College of Music,
London

Red

Received

Record

Record, Recording

Rctl

Recital

RSAMD

Royal Scottish Academy
of Music

Sch

School

Southern

State

Str

String

Stud

Student, Studied with

Sum

Summer

SUNY

State University of New
York

Symp

Symphony, Symphonic

Teh

Teach, Teacher of,
Taught

Trans

Transcribe, Tranascrip-
tion

University

Unacc

U naccompanied

358

The History of the Viola

USC

University of Southern

VSA

Violin Society of Amer¬

California

ica

Viola, Violist

Wkshp

Workshop

Violin

World War

ABELL, JACK, b 1944. Corpus Christi, TX. Stud: Vn, Va: Colo Coll
Summer Sch, Giorgio Ciompi 1961; AFM Str Congress, Michel Piastro,
1962; Northwestern U, with Steven Staryk, Angel Reyes, Sam Tharin,
B.Mus. 1967; USC, Eudice Shapiro 1968; Yale U Summer 1971, Broadus
Erie; Institute Advanced Mus Stud, Z. Francescatti, Va Kurt Lewin, 1974.
Pr Va, Memphis Symp 1985-; Memphis State U Q 1974-78; Memphis Symp
Q 1985- Teh U of Wise, Stevens Point 1973-75; Asst Prof Memphis State
U, 1975-78. Chmb Mus Monadnoch Mus Fest, 1974. Ded Cone Colton Rctl
Hall, U of S D 1975. Ded, Raymond Luedecke Sonata for Via and Pno.
Award NARAS-Memphis Chapter “Prem Str Player’’ 1978. Studio Mus
Memphis; and Nashville, TN 1975-. O&P Franz Kinberg, 1962.

ADAMS, JULIA, b 1940 New York City. Stud: Greensboro NC Pub
Sch, J. Kimbal Harriman, 1951-58; Oberlin Coll/Cons, B.A., William
Berman, 1958-62; San Francisco State Coll, M.A., Ferenc Molnar, David
Schneider, 1964-48; Dartmouth Coll, Ralph Hersh, 1965-66; Lillian
Fuchs, NYC 1966-68; Colby Coll, 1986, Honorary D.Mus. Va, Mus in
Maine, Title III, 1966-69; Pr Va East Philh Orch 1969-74; Portland ME
Symp Orch 1969-74; Portland ME Q 1969-; Artist-in-Residence, U of So
Maine 1979-; Artist-in-Residence, Colby Coll 1969-; Va tch Bowdoin Coll,
1983-. Ded and Prem Pf: Norman Cazden, Viola Concerto, Op. 103,
Portland Symp, 1972; Walter Piston, Concerto for String Quartet, Winds,
and Percussion, with Portland Q and Portland Symp, 1976; Robert Kelly,
Concerto for Vn and Va, with Stephen Kecskemethy, Champagne/Urbana,
IL, Symp, 1980; Ernest Bloch, Five String Quartets, Bath, ME, 1983,
Record, Arabesque Record, 1984. Record: complete str Qs: Walter Piston,
1985-6; George W. Chadwick, 1988, both Northeastern Records. O&P
Antonius Mucchi, Modena, 1869.

ALMIRALI, MANUEL (1904-86). See Chapter XII, “A Brief History
of the Viola in Argentina. ’’

AMON, JOHANN ANDREAS, b 1763, Bamberg, W Ger; d 1825,
Wallerstein, Bavaria, W Ger. Virtuoso horn player, conductor, composer,

Biographies of Violists

359

violist. Wrote numerous works featuring Va, incl Concertos in A Major,
Op 10, and in E Major (no Op. number), both required higher tuning; 3
Quartors Concertants for 2 Va, Vn, and Cello, Op. 15, pub. by J. Andre
Offenbach (Paris, 1801); a second set same title, Op. 18, pub. by W. Wahler
(Kassel, 1802). See also “Johann Andreas Amon and His Solo Works for
Viola,” Yearbook of the International Viola Research Society, 1979, pp.
47-59; and in this book, see “Scordatura for the Viola”, Chapter IX.

ANGERER, CHRISTOPH, b 1966, W Ger. son of Paul Angerer. Stud:
Musikhochschule Stuttgart, and Vienna. Substitute Va Vienna Philh, 1985-.
Specializes in Historical Pf Practice of Viennese Mus of 17th and 18th cen¬
turies, both Va and Va d’Amore. A leading exponent of Va d’Amore. Pf, XVI
Int’l Va Congress, Kassel, 1988.

ANGERER, PAUL, b 1927, Vienna. Stud: Vienna Musikhochschule,
Vn, Pno, Composition. Prz: Va Geneva Compt, 1948; for Comp 1954, ’56,
’58, ’59, ’77 ’83, ’87; “Man of Achievement,” Cambridge, Eng, 1973. Va
Vienna Symp, 1947. Pr Va Vienna Symp, 1953-57. Dir Kammerorchesters
der Wiener Konzerthausgesellschaft, 1956-63. Comp and Kapellmeister,
Vienna Burgtheater, playing at Salzburg, Bregenzer Fest, I960-. Dir: Bonn
Stadt Theater 1964-66, Ulmer Theater 1966-68, Salzburger Landestheater
1967-72. Found, Dir, Pf Concilium Musicum, Hochschule Vienna (assisted
by son Christoph) 1982-. Pres, Haydn-Gesellschaft, Wien, 1988.

ANSELL, STEVEN, b 1954, Minneapolis, MN. Stud: Pre-Cons, Karla
Kantner, Vilem Sokol, Veda Reynolds; Michael Tree, Karen Tuttle, Curtis
Inst 1972-75; Oscar Shumsky, Raphael Hillyer, Yale U Fellowship for Muir
Q. Asst Prof, U of Houston, 1975-77; Asst Pr Va, Pittsburgh Symp, 1977-79;
Founding Mbr, Muir Q 1979- Teh Va, Yale U, 1979-81; Va in Residence,
Colorado Coll, U of Utah, Rutgers, UCAL Santa Cruz, 1981-85. In
Residence, Boston U, Prof Va and Chmbr Mus, 1985-. Q Prem chmb mus
by Richard Wilson, Thomas McKinley, Gubaidalina, and others. Q cone
worldwide. Grand Prix du Disque, Franck Quartet, EMI 1985; “Best Chmb
Mus Record 1987,” Chausson, Cone and Q, Gramophone Magazine. O&P
Andreas Guarnerius, Brothers Amati, Gasparo da Salo, dates unknown.

Appel, Toby, (also see Vol I) 1st prz Young Concert Artist Int’l Audi¬
tions. Toured Far East and Europe with jazz artists Chick Corea and Gary
Burton. Record: Clarke Bridge Pieces for Va and Pno with P. Pettinger,
Musical Heritage. Judge, tone quality, contemporary instrus VS A Compt,
and Soloist at XIV Int’l Va Congress, Ann Arbor, MI 1987. 1988 Fests: Chmb
Mus Northwest in Oregon; Bridgehampton in New York; Angel Fire in New
Mexico; Vail in Colorado. Fac Juilliard Sch Mus 1990-.

360

The History of the Viola

ARA, UGO (1876-1936). See Chapter XV, “Italian Violists.”

ARAD, ATAR, (Also see Vol. I) City of London (2nd) Prz as a Laureate
of the Carl Flesch Compt 1972; 1st prz (unanimous) Geneva Compt 1972.
Prof Va Eastman Sch of Mus 1982-86. Cleveland Q 1982-86, tours world¬
wide, and as a soloist. Prof of Va, Rice U, Houston, TX 1987-. Ded and Prem
Pf Samuel Adler, Sonata for Va and Pno with wife Evelyne Brancart, 1986,
also recorded. Pf London Va Congress 1978, works of Bach, Brahms, Partos,
Hindemith. Pf Boston Va Congress 1985, Paganini Grand Sonata for Va and
Orch, on Paganini’s Stradivarius, 1731. Plays Nicolo Amati VA.

ARANJOS, STJEPAN (1914-). See Chapter XVI, “The Viola in Yugo¬
slavia. ”

ARANY, DRAGUTIN (1899-1964). See Chapter XVI, “The Viola in
Yugoslavia. ”

ARCIDIACONO, AURELIO (1915-). See Chapter XV, “Italian
Violists,” also Volume I, APPENDIX.

ARAZI, ISHAQ. Va, Musicologist; now manager of Bloomington Sym
Orch, Minnesota. Stud: Louis Bailly. Author and Pub, monograph Ladislav
Cerny (1891-1957), A Great Oak Still Stands in Prague, a Profile of a Giant
of the Viola. This same work appears as a chapter in Book Ten of The Way
They Play (Paganiniana).

ASCIOLLA, DINO (1920-). See Chapter XV, “Italian Violists.”

AVSHALOMOV, DANIEL, b 1953, New York, NY, son of J. Avshalo-
mov, comp, cond. Stud: Private Vn, Isadore Tinkleman, Portland, Oregon,
1958-67; Orea Pernel, Switz, 1968-9; Lillian Fuchs, Aspen Fest, 1969;
William Lincer, Juilliard Sch, B.M. & M.M. degrees, 1970-75: Lewine
Scholarship, Walter W. Naumberg Fellowship, Loeb Memorial Prz for Out¬
standing Achievement in Str Stud (1st Va awarded this prz), Pr Va Juilliard
Orch for 5 years; Eugene Lehner, Tanglewood Fest, 1970, Bernstein
Fellow, Pr Va Fellowship Orch. Orpheus Q; found mbr Orpheus Chmb Ens,
1970-74. Pr Va: Brooklyn Phhilh, Lukas Foss, 1971-74; Sea Cliff Chmb Ens,
NJ Chmb Players, Continuum, 1971-75; American Composers Orch; 1972-
75; Bolshoi Ballet Orch, US Tour 1973. American String Q, 1976-: Qs-
in-residence: Mannes Coll Mus, 1975-78; Aspen Fest 1976-; Peabody Cons
1979-89; Taos, NM, Fest & Sch 1977-; Manhattan Sch Mus, 1984-. As Mbr
of ASQ, participates in many fests, tours, prem pf, record, broadcast; ASQ
winners of Coleman and Naumberg Awards. Solo Viola Faculty: Peabody

Biographies of Violists

361

Cons, 1983-; Aspen, 1976-; Manhattan Sch Mus, 1984-. Continues to play
2 or 3 solo rctls yearly with Robert McDonald, piano; with Laurie Carney,
ASQ Vn, pf Mozart Concertante, Washington, Oregon, NJ, 1989-90;
Vaughn-Williams Flos Campi, Philadelphia, 1990. Writes music criticism
reviews for Notes, Strings, Musical Heritage Society, and several newspa¬
pers. O&P 17 in. (43.2 cm) ex-Funkhauser Andrea Amati, 1568. This beau¬
tiful example of Andrea Amati’s genius has an ebony inlay of “Chinese-Knot”
design on the back. Certified by Emil Herrmann, Jacques Frangais, Carles
Arcieri.

AZANCOT, ALBERT, b. 1914. See Chapter XIII, “Maurice Vieux, The
Father of the Modern French Viola School, and Les Amis de l’Alto.”

BAGG, JONATHAN, b 1960, Northampton, Mass. Yale U, B.A. Cum
Laude in Mus, Wrexham Prz in Pf, 1982, Raphael Bronstien 1978-80,
Steven Ansell 1980-82; New England Cons 1982-84, Walter Trampler. Asst
Pr Va, New Haven (Conn) Symp 1981-82; Chmb Mus and Strings, Walnut
Hill Sch for Performing Arts, Natick, Mass 1984-86; Va Boston Symp Orch
1984-86; Monadnock Q 1984-86; Asst Pr Va, Handel and Haydn Society
1984-86; Pr Va New Hampshire Symp, 1983-86; In-Residence and Teh Va,
Duke UK, Durham, N.C., Ciompi Q 1986-. O&P Marten Cornelissen,
1977.

BALLARDIE, QUINTIN, b. Hoylake, Chester, Eng. Stud: Royal Acad
Mus, London, Eng. O.B.E. (Order of the British Empire); F.R.A.M.
(Fellow Royal Acad Mus.) 1985. Pr Va London Philh Orch, 1964-1971.
London Pno Q. Present Pr Va & Dir, Eng Chmb Orch.

BANDINI, BRUNO (1889-1969). See Chapter XV, “Italian Violists;”
also Chapter XII, “. . . Argentine Violists.”

BARACH, DANIEL, b 1931, Weirton, W VA. Stud: Mich St U,
B.Mus. 1950-53; U of Ill, M.Mus., 1953-57. Summers: Aspen, 1953-54,
William Primrose; Norwalk, Conn, Blue Hill, ME, Lillian Fuchs, 1958-63;
Eastman Sch Mus, Francis Tursi, 1966-68; Rome, Renzo Sabatini, 1964. Va:
Houston Symp Orch 1954-5, 7th USArmy Symp 1955-7, Minneapolis
Symp Orch 1957-64. 2nd Va Walden Q, U of Ill 1964; Sewell Q 1960-4;
Sheldon Str Trio, SUNY-Oswego, NY, 1978-85. Prof of Mus, SUNY-
Oswego, 1964-. Ded and Pr Pf, Sherwood Shaffer, Duo for Va and Cello;
Sydney Hodkinson, Alla Marcia Str Trio, for Sheldon Str Trio, 1985; Prof of
Mus, State U NY-Oswego 1964-. Instructor of Alexander Technique, with
many workshops. O&P Ansaldo Poggi, 1965.

362

The History of the Viola

BARRUS, CLYN, b 1943, Rexburg, Idaho. Stud: Curtis Insti Mus,
Vienna Acad Mus, both highest honors. U of Mich D.Mus.A. Pr Va Vienna
Symp, 13 years; Minneapolis Symp. Cond: Minneapolis Civic Symp, Min¬
nesota Youth Symp. Dir of Orchs, Brigham Young U, Mbr Deseret Q,
Provo, Ut 1985-.

BARSONY, LASZLO, b 1946, Hungary. Stud: Franz Liszt Acad,
Budapest, Pal Lukacs. 1st Prz Budapest Compt 1968. New Budapest Q. Teh
Franz Liszt Acad.

BARTAK, VINCENC (1797-1861). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

BASHMET, YURI, b 1953, Rostov na Donu, Ukraine, USSR. Stud: Vn,
Rostov na Donu Mus Sch, 1961-1971; Va: Moscow Cons, Vadim Boris-
sovsky, 1971-73; Feodor Druzhinin, 1973-75. 2nd Prz Budapest Compt,
1975; 1st Prz Munich Compt, 1976. Now tch Moscow Cons, Mos Cons Sch
for Gifted Children. Judge & Pf Tertis Int’l Va Compt, Isle of Man, 1988. Pf
worldwide with Sviatoslav Richter, Pno; Mikhail Muntia, Pno; Oleg Kagan,
Vn; Conds Raphael Kubelik, Colin Davis, Gennady Rozhdestven, Mariss
Yansons. Received rave notices for Rctl, Jordan Hall, Boston, 1988. Ded &
Prem Pf Alfred Schnittke Va Concerto, Concertgebouw Orch, 1986. Record
most major Va works under Soviet labels, and recently Olympic label. Plays
Testore Va.

BECKETT, CHRISTINE, b 1950, Regina, Saskatchewan, Can. Stud:
McGill U, Stephen Kondaks, 1973-79; Toronto U, Marilyn Gilbert (Rivka
Golani), 1979-81. Pr Va, McGill U Stud Symp, dir Uri Mayer, 1978-79. Pr
Va Montreal Chmb Orch, dir Wanda Kaluzny, 1979-85. Baroque Specialist
with Studio de Musique Ancienne de Montreal for tours in France,
Spain, 1980-81. Much free lance work, incl jazz. O&P Barak Norman,
c. 1710; Denis Cormier, Montreal 1984.

BEDARD, YVES, b 1929, Quebec. Can. Va, Educator, Administrator.
Stud: Cons de Mus Province Quebec, Lucien Robert, 1948-53; Paris Cons
Nat l Superior, Pierre Pasquier, 1953-55; Paris, Micheline LeMoine, 1958-
61. Va: Buffalo Symp Orch 1956-58; Quebec Symp Orch, Quebec Chmb
Orch, 1961-. Tch Laval U 1961-; formulated programs in Mus Ed for Prov¬
ince of Qubec, 1964; Ass’t Dir Laval U Sch Mus (Pedagogy), 1977-. O&P
Pierre Gaggini, Nice, 1975.

BEKROVA, DAGMAR. See Chapter XVII, “The Czechoslovakia Viola
School. ”

Biographies of Violists

363

BELANGER, MARC, b 1940, Quebec, Can. Stud: Edwin Belanger,
(father) 1946-; Vn Quebec Cons Mus, Claude LeTourneau, Calvin Sieb,
1948-61. Pr Va Quebec Symp Orch 1970-72. Tch: Quebec Cons Mus 1970-
71; Montreal Cons Mus 1976-77, Montreal U 1973-77. Str Trio CBC with
Reynard L’Archeveque, Vn, Guy Fouquet, Cello, 1975. Ded: Alain Payette
Va Sonata. O&P Denis Cormier, Montreal, 1982.

BELLI, ALDO (1927-). See Chapter XV, “Italian Violists.”

BELLONI FILIPPI, ELENA (1922-). See Chapter XV, “Italian Vi¬
olists.”

BENATAR, JEAN-FRANQOIS, b. 1939 Paris. Stud CNSM-Paris: Prem
Prz Va 1959. Mbr l’Orch Nat l de France 1962-75. Pr Va Paris Nat l Opera
Theater 1975-. Prof Va Cons Nat’l de Region de Ville d’Avray; Sch Mus Paris
12o Arrondissement. Found Mbr Q Frangais 2E 2M 1975-. VaTrio a Cordes
Milliere and Quintette de Jean Cras (Quantum) which also appeared with Q
with Flute Gossec, Chez “Musique en Wallonie.”

BENDA, FRANTISEK (FRANZ) (1709-1786). See Chapter XVII,
“The Czechoslovakia Viola School. ”

BENDA, JIRl (GEORG) (1722-1795). See Chapter XVII, “The Czech¬
oslovakia Viola School.”

BENEDETTI, GIOVANI ALFREDO (1942-). See Chapter XV,
“Italian Violists.”

BENES, DR. JIRI (1928-). See Chapter XVII, “The Czechoslovakia
Viola School.”

BENNEWITZ, ANTONIN (1833-1926). See Chapter XVII, “The
Czechoslovakia Viola School. ”

BENNICI, ALDO (1938-). See Chapter XV, “Italian Violists.”

BERAN, JOSEF (1896-1978). See Chapter XVII, “The Czechoslova¬
kian Viola School.”

BERCK, HEINZ, b 1931 Sprendlingen bei Frankfurt am Main, W Gr.
Stud Vn 1943-51. Va self-taught 1951. Va d amove self-taught 1961. Mbr Va
d’Amore Soc of America. Officer in IVG 1982-. Author, Va dAmore Bibli¬
ographic (Barenreiter, 1986).

364

The History of the Viola

BERLINGIERI, FRANCISCO N. (d. 1983). See Chapter XII, “A Brief
History of the Viola in Argentina. ”

BERNARDESCHI, WALTER (1954-). See Chapter XV, “Italian
Violists.”

BEST, ROGER b 1936 Liverpool, Eng. Stud: RCM Manchester, Paul
Cropper, 1955-58, Gold Medal. Va Halle Orch 1958-60; Pr Va Northern
Sinfonia Eng 1961-73, London Mozart Players 1973-76. Alberni Q 1976-.
Prof Va RCM 1973-. Ded: Malcolm Arnold Viola Concerto, Prem Pf,
London 1971, Vancouver 1972, USA 1972; Richard Rodney Bennett Viola
Concerto, Prem Pf UK 1974. O&P Antonio Mariani, c. 1645, extremely fine,
ex-Tertis early career.

BEYERLE, HATTO C., b 1933 Frankfurt/Main. Stud: Va Ulrich Koch,
Hochschule fur Musik, Freiburg, W Ger 1952-7; Vn Ricardo OdnoposofF,
Conducting Hans Swarowsky, Counterpoint Alfred Uhl at Hochschule fur
Musik und Darst. Kunst, Vienna 1957-60. 1st Va (founder) Vienna Soloists
1960-70; Va (founder) Alban Berg Q 1970-81. Founder Chamb Group
“Sequenza” 1982. Freelance Va with Chamb groups world wide. Prof Va and
Chamb Mus: Hochschule fur Musik und Darst. Kunst (Theater Arts), Vienna
1963-88; U of Cincinnati, Ohio 1981-2; Hochschule fur Musik and Theater,
Hannover, W Gr 1987-. Concerts in most major festivals including
Marlboro, Vienna, Salzburg, Kuhmo, Lockenhaus, etc. O&P rare Maggini-
copy by J.B.Vuillaume, Paris, c 1850.

BEZRUKOV, GEORGI, b 1928, Leingrad. Stud: Moscow Cons,
Mikhail Terian, -1950. Va soloist, composer. Mbr USSR State Symp Orch.
Dir, Va Ens.

BIANCHI, LUIGI ALBERTO (1945-). See Chapter XV, “Italian Vi¬
olists.”

BIERWALD, RONALD, b 1946 Edingen, WGr. Stud Vn Paul
Ehrhardt Kassel Musikakademie 1962-8, Va Albrecht Jacobs 1969-71;
Gunther Lange Hochschule fur Musik, Dortmund. Pr Va Mannheim
Recording Orch 1976-. Tch: Va Heidelberg Musikschule 1976-, Chmb Mu
Ladenburg Musikschule 1985-7, Va Waghausel bei Mannheim Musikschule
1988-. Replaced Prof. Dr. Wolfgang Sawodny 1984-5 in IVG during latter’s
illness. Many Va rectls in Mannheim and Heidelburg area. Leader of Sym¬
posiums and author of articles on Pedagogy of Music. O&P Karl Weiss,
Dortmund, 1975.

Biographies of Violists

365

BIRCH, U. L. (Romania)

BITELLI, MARIO (1910—). See Chapter XV, “Italian Violists.”

BLOCK, EVA, b 1957, Arad, Romania. Stud: Vn with father, later Va.
1976-80: Cluj-Napoca Hochschule (Klausenburg), Prof Mihai Chincan, Prof
Liviu Vancea; Obersc-hiitzen, Austria, Michael Schnitzler, Jurgen Geise;
Nyrbator, Hungary, Istvan Ruha, Laszlo Barsony, Ferenc Kertesz; Szom-
bathely, Hungary, Pal Lukacs; Budapest, Va Pf Diploma. Pr Va Timisoara,
Romania, Philh, Timisoara Q, 1980-. Concerts in Romania, Bulgaria, Jugo¬
slavia, Italy, Greece, and W. Germany.

BLUM, RICHARD C. (See also Vol. /). Pro Arte Q, Laurel Records.
Prem Pf Fred Leludahl, 2nd Q; Andrew Imbrie, 5th Q (1987); Gunther
Schuller, Quartet Concerto for Q and Orch, 1988. O&P Carlo Landolphi,
1767.

BODMAN, ALAN, b 1949, Lansing, Mich. Stud: Mich State U, Vn
Lyman Bodman (father), Romeo Tata, Walter Verdehr, 1967-71; U of Mich,
Paul Makanovitsky, 1971-73; Meadowmount Sch Mus, five summers, Ivan
Galamian, Dorothy Delay, Michael A vsharian. Prof Vn/Va Washington State
U 1973-86; U of Akron (Ohio) 1986-; Meadowmount Sch Mus 1986-.
Kimbrough Trio 1986-; Guest Gabrielli Trio 1986. Solo, Symps Mich, Ohio,
Northwest.

BOGUSLAVSKY, MIKHAIL, b 1926, Dnepropetrovsk, U.S.S.R.
Stud: Sch for Gifted Children, F.Yampolsky, 1933-41; Tashkent Coll Mus,
1942-45; Moscow Cons, Va: Vadim Borissovsky, Mikhail Terian; Q: Eugene
Guzikov, 1945-50. Va: Tashkent Symp Orch, 1942-45; Ass t Pr: Moscow
Opera Orch, 1945-48; Moscow Radio Pop Orch, 1948-50; Pr Va: Moscow
Radio Symp Orch, 1950-53; Co-Pr: Moscow Philh Orch 1953-57; Pr &
Co-Found: Moscow Chmb Orch 1957-78; Pr Va: New Jersey Symp, 1979-
80; Utah Symp 1980-. Ded &; Prem Pf Sulhan Tsintsadze Romance 6-
Horumy for Va 6- Pno, 1948, 1950. Record with Oistrakh, Sviatoslav
Richter, Emil Gilels, Yehudi Menuhin, Leonid Kogan. Tch: Priv; Tashkent
Coll Mus, 1944-45; Moscow Sch Mus 1949-70; Prof Mus, U Utah, 1981-;
Snowbird Insti Chmb Mus Fest 1985-. Many Pf USSR & USA. O&P Antony
Graniany, 1748-50.

BONAFOUS, JEAN-LOUIS, b 1935 Montpellier, France. Stud: Cons
Regional de Montpellier, 1st Prz Vn, Va, solfedge; 1st Medal clarinet, piano.
Prz of Minister of Education Natl; CNSM-P 1961, 1st Prz Va (Leon Pascal),
Chmb Mus (Jean Hubeau, Joseph Calvet). Pr Va: Concerts Colonne. Va:

366

The History of the Viola

Societe des Concerts of Cons 1962 and l’Orch Natl de France, 1962; l’Opera
de Paris, l’Orch de Paris 1965 Many fests and world tours with Fr Orch
and ens. Va solo Patrick Marcland’s Triple Concerto for Va, Flute, Harp, and
Orch, Paris 1978.

BONFIGLIOLI, JOSE (1851-1916). See Chapter XII, “A Brief History
of the Viola in Argentina.”

BOON, KLAAS, b 1915, Den Helder, Holland. Stud: Vn Willem Boon
(father) 1922-27; Amsterdam, Dick Mesman 1929-34, Oscar Back 1942-44.
Concertgebouw Orch Vn 1941-45; Va 1945-47; Pr Va 1947-80. Active
Chmb Mus: Found Netherlands Pno Q with wife Ina Overkamp 1969-. Tch
Va Amsterdam-Sweelinck Cons 1952-80. With Concertgebouw Orch and
others, Prem Pf & Ded: Leon Orthel Va Sonata; Oscar van Hemel Va
Concerto; Prem Pf: Hans Henkemans Va Concerto. Other Va Concertos
by Stamitz, Hoffmeister, Hindemith ( Schwanendreher , 3 times cond
Hindemith), Tibor Serly, Bela Bartok, Darius Milhaud, William Walton,
Bloch, Mozart Concertant many times with such artists as Yehudi Menuhin
and Herman Krebbers; many Pf Harold in Italy, most memorable with
Pierre Monteux Cond. O&P Max Moller, Amsterdam, 1946.

BRAID, COLLEEN, b 1949, Lakewood, Ohio. Stud: Cleveland Insti
Mus, Muriel Carmen, 1963-67; Blossom Fest Sch, Abraham Skernick,
1970; Baldwin- Wallace, Thomas Beck, 1967-71, George Poinar, 1971-72. Va
Canton (Ohio) Symp Orch 1970-72; Asst Pr Va, Canada Symp Orch
(Montreal), 1972-74; Va Dayton (Ohio) Philh Orch 1974-; Asst Pr Va
Cincinnati Chmb Orch 1975-. Tch Cleveland Pub Sch 1969-72; Prof Va,
Wright State U, Dayton, Ohio 1986-, WSU Q 1986-. O&P Genuzio
Carletti, 1948.

BRANDFONBRENER, AMY, b 1960, Chicago, Ill. Stud: Curtis Insti
Mus, Joseph de Pasquale, 1980-83; Acad Mus Chigiana, Bruno Giuranna,
1980, 82; New England Cons, Walter Trampler, 1983-85. Harrington Q,
1985-. Pr Va Amarillo Symp, 1985-. Prof Va West Texas State U, 1985-.
O&P Giacomo Rivolta, 1824.

BROOKS, WAYNE, b 1954 Los Angeles, CA. Stud: Curtis Insti Mus,
Max Aronoff, 1972-77. Asst Pr Va, 1977-85, Pr Va 1985- Houston Symp
Orch. Va Rice U, 1985-.

BROWN, CAROLYN, b 1958, Melbourne, Australia. Stud: Melbourne
State Coll Advanced Ed, Paul O’Brien, Christopher Martin, 1975-80; West
Berlin Hochschule der Kunste, Wolfram Christ, 1982, 83, 84; Sum, Int’l

Biographies of Violists

367

Acad Tours, Fr, Yuri Bashmet, 1985; Tibor Varga Fest, Switz, Nabuko Imai,
1985. Va: Melbourn Symp 1979; Berlin Philh, 1985; State Orch Victoria,
Melbourne, 1988-. Victorian Q, 1986-87. Solo: Hindemith Kammermusik,
No. 5, Berlin Philh, 1984; Rctl: Va/Pno, Nat l Gallery Victoria, Melbourne,
1987; Hoffmeister Concerto, Zellman Memorial Orch, Melbourne, 1986;
Comm: Peter Bridoake (Australian) Str Q, 1986.

BRUNI, BARTOLOMEO (1751-1821), See Chapter XV, “Italian Vi¬
olists;” also see Vol. I, APPENDIX.

BRUSINI, LUIGI (193 1— ). See Chapter XV, “Italian Violists;” also see
Vol. I, APPENDIX.

BULJAN, TOMISLAV (1934-). See Chapter XVI, “The Viola in Yugo¬
slavia. ”

CAMBINI, GIOVANNI (1746-1825). See Volume /, APPENDIX.

CAMPAGNOLI, BARTOLOMEO (1751-1827). See Volume I, AP¬
PENDIX.

CANTOR, EMILE, b 1955, Apeldoorn, Neth. Stud Cons Nat’l Sup
Paris 1974-5 with Serge Collot. Pr Va: Netherlands Cham Orch 1977-9;
Orch Nat’l Capitol Toulouse 1981-6. Str Q Toulouse; Orpheus Q. Tch
Va Denmk, Fr, Ger (Trossingen Hochschule fur Musik, Dusseldorf,
Mettmann). Pre Pf: Caprice pour Alto Seul, 1976, Philip Fenelon; Autumn
for Viola Solo, 1978, Leo Samarna. Also Perf of Mod Mus and Cone and
Recti Denmk, Neth, Ger, Fr, Belg, Aust. Jury of Maurice Vieux Int’l
Concours de l’Alto, 1986. O&P Joannes Tononi, Bologna, c. 1710.

CARLES, MARC (Also see Vol I). 1st Priz at CNSM-P: Va; Chmb Mus;
Comp (with Tony Aubin); Prz Comp Georges Enesco-dicerne of the SACEM
1971. Fr Orch Nat’l 1964-75. Prof CNSM-P 1972-. Dir L’Ecole NatT Mus
du Tarn 1983-. 16 Va Comp, 2 Va Methods. O&P Jacobus Horil, Rome,
1756.

CASADESUS, HENRI (Also see Vol. I). Ded: Arthur Honegger,
Sonata le Sirene Musicale 1921.

CASIMIR-NEY, L.E. See ESCOFFIER, LOUIS CASIMIR, 1801-77.
Also see Chapter X, “The Identity of L. Casimir-Ney.”

368

The History of the Viola

CASSIDY, PAUL, b. 1959, Derry, N. Ireland. Stud: RCM London,
Brian Hawkins, 1977-81; Santa Barbara, USA, Donald Mclnnes, 1981-82;
Detmold, W Ger, Bruno Giuranna 1982. Va Brodsky Str Q, 1982-. Plays a
Francesco Guisanni, Milano, 1843, played by Frank Bridge throughout ca¬
reer, then given to Benjamin Britten, who has loaned it to Cassidy.

CASTELIVI, SARA (?-?). See Chapter XII, “A Brief History of the
Viola in Argentina. ”

CASTLEMAN, HEIDI. Stud: Paul Doktor; Dorothy Delay; Wellesley
Coll, B.A.; U of Pennsylvania, M.Mus. New York Str Sextet, 1972-76. Tch:
Eastman Sch of Mus, 1976-; New England Cons, 1977-84; Rice U, 1983-
84; U of Miami, 1984-85; SUNY-Purchase; Philadelphia Mus Acad; Cleve¬
land Insti of Mus, 1985-. Summer Fest: The Q Program, co-found and Va
tch 1970-; Mus Fest of Florida; Banff; Eastern Mus Fest; Mt. Gretna;
Killington; Round Top; Blossom; et. al. Found Trustee, Chmb Mus America,
V-Pres, 1977-83; Pres, 1983-87.

CAUSSE, GERARD (add Vol I). Disque Frangais Prz, Charles Cros
Prz, Gabriel Faure Prz, SACEM Prz; citation from Fondation de la Voca¬
tion. Ens Intercontemporain, Ivaldi Pa Q. inspired comp: Koering, Masson,
Nunes, Rose, Grisey, Lenot, Radulescu. Prof Va: Lyon Cons Nat l Sup Mus;
Paris Nat l Cons Nat l Sup Mus 1987- succeeding Colette Lequien-Potet.
Mstr-cls Eng, It, Finl, Switz, USA. O&P Gasparo Da Said, Brescia, 1560.

CEDEL, MARK T., b 1953, Pittsburgh, PA. Stud: No. Carolina Sch of
Arts, Jerry Horner, 1971-73; Curtis Inst Mus, Joseph De Pasquale, 1973-
77. Pr Va Charleston (SC) Symp Orch 1979-; Charleston Symp Q 1979-;
S.C. Chmb Orch 1980-82; Acting Pr Va Savannah (GA) Symp Orch, 1981-
83. Distinguished Visiting Prof, U Federale do Rio Grande do Norte, Brasil,
1978-79. Tch Coll of Charleston 1979-; Symp Sch of America, 1985;
Brevard Mus Fest 1986-. Asst Cond, Charleston Symp Orch 1981-; Found
and Cond Charleston Coll Community Orch, 1986. O&P Sergio Peresson,
1973.

CENTURIONI, PAOLO (1934-). See Chapter XV, “Italian Violists.”

CERNY, LADISLAV (1891-1975). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

CHAILLEY, MARIE-THERESE. (Also see and delete last sentence in
Vol 1 & add) Wrote two etude books: Vingt Etudes Expressives en Doubles
Cordes (Leduc), and Quarante Exercises Rationnels (Leduc).

Biographies of Violists

369

CHAMBERS, JOHN, b 1936 Ashford, Eng. Stud: RAM Vn Frederick
1954-6,8; Alto-Saxo Nat l Serv-Royal Scots Greys Band 1956-8; changed to
Va with Gwynne Edwards RAM 1959. Pr Va Birmingham City Symp Orch
1963-9; Pr Va London Philh Orch 1970-9; Pr Va London Philharmonia
Orch 1979-. Tch & Adjud. O&P Va Wilfrid Saunders, 1954.

CHASE, ROGER, b 1953 London. Stud Bernard Shore, RCM; Steven
Staryk. Ass t Alberto Lysy, Int’l Aca of Cham Mus, Holland 1977; Pr Va
London Mozart Players 1978-9; Esterhazy Baryton Trio 1976- Nash Ens
1979-; Pr Va London Sinfonietta 1979-; London Q 1980-1; Prof Va; Royal
No Col Mus Manchester 1985-; Prof Va Guildhall Sch Mus 1985-. Prem Pf:
Jonathan Lloyd, Viola Concerto, with London Sinfonietta; Geoffrey Grey,
Sonata for Viola and Piano (Commis); Neal Saunders, Little Suite for Solo
Viola (Ded). Pf Michael Tippett Triple Concerto, M. Tippett Cond; Solo
Debut with English Cham Orch 1979; First Solo Promenade Cone, Royal
Albert Hall 1987. O&P Montagnana 1727, ex-Tertis, ex-Shore.

CHILDS, GORDON, b 1927, Springville, Utah. Stud: Brigham Young
U, John Hilgendorf, Lawrence Sardoni 1945-50; Master Class, Charles
Foidart, 1951-52; U of Montana, Eugene Andrie, 1968-70. Supervisor of
Strings, Pocatello (Idaho) Pub Sch, 1952-56; Asst Prof U Montana, 1956-60;
Cond, Missoula County High Sch Orch 1956-60; Cond Helena (Mont)
Symp 1958-60; Prof Mus, Dept of Mus Chm, Adams St Coll, Alamosa, Colo
1960-81; Cond San Luis Valley Symp, Alamosa, Colo, 1960-81; Prof of
Mus, U of Wyoming, Laramie, WY, 198 1— ; Acting Chairman Dept of Mus,
U Wyoming, 1985-86; Cond, Fremont County Chmb Orch, Lander, Wy,
1986- Pr Va: Idaho St Coll-Comm Orch, Pocatello, ID, 1952-56; Inter¬
mountain Little Symp, Provo, UT, 1947-50; Pr Va, 1968-70, Missoula Civic
Symp, MT. Va Idaho St Coll Q, 1953-56. Va d’Amore Pf 1953-. Host, 1st
Int’l Va d’Amore Congress, U Wyoming, 1982. Va d’Amore: Early Instru
Ens, Adams St Coll, 1973-81; Baroque Ens, U of Wyoming, 1986-.

CHIOSTRI, LUIGI (1847-94). See Chapter XV, “Italian Violists.”

CHRIST, WOLFRAM, b. 1955, Hachenburg, Gr. Stud with father; H.
Enger; Ulrich Koch. 2nd Prz Int’l ARD Comp, Munich 1976; 1st Przs:
Jugend Musiziert; Bundes auswahl Jungenkunstler; Ger Cultural Assn
Young Artist Industrie Prz; Busch Brothers Prz; Wiesbaden Mozart Prz. Pr
Va Berlin Philh 1977-. Va Philh Soloists; Philh Str Soloists; Reger Trio.
World wide tours, cone with major orchs and conds. Records: Berlioz Harold
in Italy, Berlin Philh, Maazel, DGG; Strauss Don Quixote, Berlin Philh,
Karajan, DGG; Brahms Piano Q DGG; Brahms Zweigesang fur Sopr, Va,
Pno, Jesse Norman, sopr, Daniel Barenboim, pno, Polydor DGG 1983. Tch:

370

The History of the Viola

Berlin Hochschule der Kunste 1980-; Int’l Karl Flesch Acad Baden-Baden
Summers 1985-. O&P Alfred Leicht, 1975.

CLARK, DONNA LIVELY, b 1948, Indianapolis, Indiana. Stud: Indi¬
ana U, B.M., William Primrose, 1965-69; Butler U, M.M. 1973-74; addi¬
tional stud, George Janzer, William Lincer. Va, Indianapolis Symp, 1972-
74; Aspen Fest Orch 1974-76; Pr Va Indianapolis Chmb Orch 1984-;
Lockerbie Q 198 1-; Adjunct Prof Va, Butler U, 1982-. Commissioned and
Prem Pf: Peter Ware str Q Kabah, for Pan-American Games, 1987. Indiana
State Pres, ASTA, 1988. O&P Marten Cornelissen, 1984.

CLARK, PHILIP, b 1943, Weston-super-Mare, Somerset, Eng. Stud:
Guildhall Sch of Mus and Drama, Va, Nannie Jamieson, Peter Schidlof, Max
Rostal; Chmb Mus. Norbert Brainin, Emmanuel Hurwitz, William Pleeth.
Pr Va: Reid Orch, Edinburgh (Scotland), 1964-75; Auckland (New Zealand)
Philh, 1975-85; now in USA: Pr Va: Cayuga (NY) Chmb Orch (cond, Carl
St.Clair) 1985-; Glimmerglass Opera, Cooperstown, NY, 1985-; Tri-cities
Opera, Binghamton, NY 1985-. ProfVa, U of Edinburgh and Lancaster, UK
1964-75; U of Auckland, NZ, 1975-85; Kent State, Ohio; Asst Prof and
Resident Piano Q, Ithaca Coll, NY 1985-90.

CLARKE, REBECCA (Also see Vol /.) d. 1979, New York City.

COCCHIA, FAUSTO (1911-74). See Chapter XV, “Italian Violists.”

COLETTA, HAROLD (Also see Vo/7.). Continues cone NYC area, Solo
and Chmb Mus. Duo rctls with Israel Chorberg, Rosemary Glyde; pf with
Palisades Chmb Players, Tappan Zee Chmb Players; Adelphi Chmb Orch, pf
Handel Concerto in B Minor; The Music Amici. See article by Rosemary
Glyde, “Harold Coletta,’’ Journal of A.V.S., Vol. 3, No. 1 (1987), pp. 8-12.
O&P Giles, London, 1820 and Carlo de March, Venice 1971.

COLETTI, PAUL, b 1959 Edinburgh, Scot. Stud Va Sch Edinburgh;
RSAM, James Durrant 1977-8; Dipl, Int’l Menuhim Mus Acad, Gstaad,
Swit, Alberto Lysy, Sandor Vegh, Yehudi Menuhin 1978-81; Col-Cons
Mus, Cincinnati, Ohio, Donald Mclnnes 1981-2; Banff Center, Alberta,
Can, Raphael Hillyer, Gyorgy Sebok, Janos Starker 1982-3; Post-Grad Dipl
Juilliard Sch, Walter Lincer 1983-4. Prz: Royal Soc Arts, Gr Brit, 1st 1981;
Caird Trust of Scot, 1st and Special Wiseman 1981; Jeunesse Mus Int’l Va
Comp, Belgrade, 3rd & Golden Harp and Sonata 1982; Lionel Tertis Int’l Va
Comp, 2nd & Special Award 1984; Ian Flelming Trust, Top Prz, UK 1985.
Pr Va Camerata Lysy Gstaad 1978-81. ProfVa Univ of Washington 1984-86;
Peobody Cons 1986-. Pf Walton Concerto 3 times with Nat l Youth Orch Gt

Biographies of Violists

371

Br; Bartok Concerto Berlin Radio Sym, Sir Yehudi Menuhin, Cond (tele¬
vised); Vaughn-Williams Flos Campi BBC Orch. Record Atterberg Concerto
with Alberto Lysy, Deutsche Radio Schweiz label 1985; Telemann Concerto
for 2 Violas with Nora Chastain, acc by Camerata Lysy Orch, Empire of
Belgium label. Rctls, Tch & Fests Eur & Americas. Pf XVII Int’l Va Con¬
gress, Redlands, CA, 1989.

COLLOT, SERGE, b 1923. Stud CNSM-P: Maurice Vieux, Joseph
Calvet, Roger Desormieres, Arthur Honegger, 1st Prz Va 1950. Va in
Parrenin Q 15 years; Q le Radiodiffusion Frangais succeeding Leon Pascal;
Found 1960 Trio a Cordes Frangais with Gerard Jarry and Michel Tournus,
world tours; Solo Va Domaine Musical, Pierre Boulez Cond. Many Pre Pf,
Ded Wks: Luciano Berio, Sequenza; Betsy Jolas compositions, etc. Pr Va
Paris Nat l Opera Orch. Prof Va CNSM-P 1969-. Mstr-cls Int’l Fests, Jury
Int’l Compt, Geneva, Munich, Portsmouth, etc. Soloist and Lecturer Int’l
Va Week, Amsterdam 1986. Co-dir of Maurice Vieux Int’l Concours de
l’Alto, 1986. Fac Banff, Canada 1987. Co-Pres Assn Int’l des Altistes et Amis
de l’Alto. Awarded by the Minister of Culture, Dept of Mus, France:
Chevalier dans la Legion d Honneur “for a life dedicated to the service of
music, by whom for a long time has been displayed the eminent qualities of
an artist and a teacher,’’ January 1989. O&P David Tecchler, Rome 1741
(ex-Laforge, ex-Macon, ex-Boulay), 40.3 cm. (15 7/8 in.),

COMAN, TEODOR, b 1965, Bucharest, Romania. Stud: George
Enesco Bucharest Coll of Music, Mugurel Popovici, 1977-84; Conservatoire
C. Porumbescu of Bucharest, Valeriu Pitulac, 1984-88. 1st Prz Romanian
Nat l Compt, 1981, 83, 84, 85; 1st Prz Romanian Nat’l-Fest “Darclee”
Compt, Pitesti; 2nd Prz Maurice Vieux Int’l Compt, Lille, Fr, 1986. Pr Va
Ploiesti Philh-. Free-lance Va in numerous Qs & Radio-tele vision. Exten¬
sive repertoire. Favorite Va: Amati, 1600.

CONSOLINI, ANGELO (1859-1934). See Volume I, APPENDIX.

COSSU, PAOLO (1953-). See Chapter XV, “Italian Violists.”

CREPAS, OSCAR (1899-). See Chapter XV, “Italian Violists.”

CROPPER, PAUL (Also see Vol /.) Pf at Tertis Va Compt & Wkshop,
Isle of Man, 1984.

CROUSE, WAYNE (Also see Vol /.) Fac, Oklahoma U 1983-; Okla¬
homa U Q 1983-. Commissioned and Prem Pf NYC, Paul Cooper, Six Canti

372

The History of the Viola

for Va and Pno, 1981, also Pf same work at XI Va Congress, Houston, 1983;
and in NYC, 1987. O&P Sergio Peresson (ex-Primrose), 1969.

CURRO, JOHN, M.B.E., b 1932, Cairns, North Queensland, Austra¬
lia. Stud: Klagenfurt, Austria, Cons, W. Schweyda, 1956-57; Santa Cecilia,
Rome, R. Principe, 1957-58; Queensland Cons, Brisbane, J. Sedivka, 1962-
6; Private, R. Pikler, Sydney, 1966-; B. A. -Architecture, U Queensland,
1955. (prz winning research project: “New Conservatorium of Music for
Queensland,”). Lazaroff Q, Mayne Q, both Brisbane, 1964-72. Pr Va U
Queensland Sinfonietta 1973-80; Prof Str Mus, U Queensland 1968-75;
Senior Lect Va & Orch, Queensland Cons Mus (twice Head of Str Dept)
1975; Visiting Lect: Canberra; Hobart; Sydney; Christchurch, NZ. Tch
Shanghai & Beijing Cons, 1979. Guest Cond, Shanghai Philh, 1975; Pr
Guest Cond, Christchurch, NZ,, 1985; ABC Orchs, Opera Orchs. Va Solo:
ABC. Mbr, Australia Council, and its Music Board. Found, Dir, Queen¬
sland Youth Orch (6 Int’l Tours), and North Queensland Opera Fest. Patron:
Beethoven Fund for Deaf Children, London. Prem & Ded: Mary Mageau
Statement ir Variations, 1979. Pf Walton and James Pemberthy (Aust),
Concertos (? Harold in Italy, for ABC, many broadcasts and rctls. Tch:
students in most Australian Orchs and some overseas; and tchrs many
places. Pub: “Upbeat & Focus,” Treatise on Fundamental Simplicity of
Playing String Instruments; “Music from China” ABC-FM 24 hours, 1984.
O&P Guadagnini Family, 1893 (admires Margaret Majors Nicolo Amati.)

DALI, EDUARDO R. (1919-). See Chapter XII, “A Brief History of
the Viola in Argentina.”

DALTON, DAVID, see CHAPTER XXIII— P. I. V. A.

DANKS, HARRY (Also see Vol I) Jury Lionel Tertis Va Comp 1980, 84,
88. Va d’Amore Rctl IX Int’l Va Congress, Toronto, Can 1981. Now semi-
retired.

DAVIDE., DR. ZVONIMIR (1921-). See Chapter XVI, “The Viola in
Yugoslavia. ”

DAVIDSON, KEVIN J. b 1958, Denton, TX. Stud: Paul Doktor; Sam¬
uel Rhodes; George Papich; North TX St U 1976-78; Mannes Coll Mus
1978-79; SUNY-Purchase 1979-83 B.F.A.; Juilliard Sch Mus 1983-85
M.M., D.M.A. 1989. Awards: Artist-in-Residence Charles Ives Center
American Mus; Honorary Scholarship, Juilliard Sch Mus Prism Chmb Orch
1985, Hudson Valley Philh 1985-6; Asst Pr Va Bridgeport Symp 1983-86;
Pr Va Ridgefield Symp 1987-; Str Cond Norwalk Youth Symp 1988-. Ravel

Biographies of Violists

373

Q 198 1-; Doansburg Chmb Ens 1986-; NY Art Ens 1987. Fac The Stein
Center, NYC 1984-86; Yorktown (NY) Sch Mus 1984-88; Alfred (NY) U
Summer Chmb Mus Insti (Joseph Fuchs, Dir) 1988; Weston (CT) Sch Mus
and Pf Arts 1987-; also Mstr Cls. Record: Richard Wilson Serenade, stereo
#130, 1987; Complete Hindemith solo and Va/Pno Sonatas, 1988, both
Opus One Records; also commercial records 1976-. Comm and Prem Pf
Max Schubel, The Spoors of Time, Lincoln Ctr, 1987; Prem with Ens Somei
Satch, Sumeru II, NYC 1987. O&P Stautinger, 1763; snakewood bow, Joe
Kronsnowski, 1987; Malcolm Taylor, 1982 “Prince of Wales” bow.

DAVIS, LEONARD, (change item in Vol I to this) b 1919 Willimantic,
Conn. Stud Julliard Grad Sch, four year fellowship in Va. Co-Pr Va N Y Philh
1950-; N Y Philh Chmb Ensmb 1952-. Metropolitan Q, Corigliano Q. Pr Va
record orch RCA, Columbia, Everest, Contemporary, Grenadilla, Deutsche-
Grammaphone; record J.S.Bach Six Solo Suites. Soloist with the great
Conds. Rctls, Cones, Mstr-Classes world-wide. Transepts, Editions, Int’l
Mus Co. Fac Brooklyn Coll, C.U.N.Y.; visiting Prof and Master Classes
Indiana U 1976-; Fac Va and Va Orch studies, Manhattan Sch Mus. O&P
G.B. Ceruti, 1792.

de PASQUALE, JOSEPH, (Also see Vol I) Va All-American Youth
Orch, dir Leopold Stokowski 1941. Prem Pf with Philadelphia Orch: Hum¬
mel Potpouri, Martino Rhapsody Concerto, Bartok Concerto; with Boston
Symp, dir Charles Munch, Ded Walter Piston Concerto 1958. Soloist: Ham¬
burg Symp, Ger, dir Klaus Tennsted, Bartok Concerto; Hannover Symp,
Ger, dir Aldo Cecato, Berlioz Harold in Italy. Pf & Record with Heifetz &
Piatigorsky 1967-68. Soloist & Master Classes XIII IVG Cong, Boston,
1985. O&P Sergio Peresson, Philadelphia, 1967.

DE VERITCH, ALAN. (Also see Vol I) Fac, USC, coach Va orchestral
literature, 1989-. AVS Executive Board 1989- to fill term of late Paul Dok-
tor. Lecture XVII IVG Congress 1989: “You’ve Finished School — So Now
What?” Pres AVS 1990-.

DEWAELE, JEAN-CLAUDE, b. 1942 La Mure, Isere, Fr. Stud: Cons
Nat l Lille, seven 1st przes: CNMS Paris with Ginot, 1st prz Va and Solfege;
Chmb Mus with Pierre Pasquier. Pr Va Sarre Cham Orch, Dir K. Ristenpart
1965; Pr Va Luxembourg Radio Orch Dir L. de Froment 1967; Pr Va Con¬
certs Colonne et Pasdeloup and Loevenguth Q 1968; then Paris Nat’l Opera
Theater Orch. Now Parrenin Q and Dewaele-Belthoise Va-Pno Duo. Teh Va
and Chmb Mus Cons of Roubaix, Fr. Plays jazz on electric Va. O&P Tertis
model Va by Marcel Vatelot, 1951 (16 7/8 in., 43 cm.), certified by Hill 1958,
Vatelot 1981.

374

The History of the Viola

DEXTER, JOHN, b 1946, Grand Rapids, Michigan. Stud: Drake U,
Donald Haines, Wilfred Biel, 1964-68; Juilliard, Dorothy DeLay, William
Lincer, Lillian Fuchs; SUNY/Binghampton, Young Artist Q Program, Lenox
Q, 1973-75; Priv George Niekrug, 1976-78. Madison Q, 1973-79; Manhat¬
tan Q, 1981—; Q-in-Residence, Music Mountain, 1981-; Artist-in-Residence,
Connecticut St U, 1986-. Fac Colgate U, 1976-79. Yearly int’l tours. First
USA Q to tour USSR on Exchange, 1985, 86, 88. O&P George Chanot,
Paris, 1824, 43 cm. (16 15/16 in.).

DIAZ, ROBERTO, b 1960, Chile. Stud: Chilean Cons Mus, Santiago,
Chile, 1967-73, Manuel Diaz; Georgia Acad Mus, Atlanta, Manuel Diaz,

1973- 78; New Eng Cons Mus, Burton Fine, 1978-82; Curtis Insti Mus,
Joseph de Pasquale, 1982-84; chmb mus: Laurence Lesser, Eugene Lehner,
Louis Krasner, Joseph Silverstein, Gunther Schuller, Eric Rosenblith, Felix
Galimir, Mischa Schneider, Leonard Shure. 1st Prz, 1988 Washington Int’l
Comp for Str; Gustav Golden Award, 1980; NEC Scholarship Q, 1980-82;
Savannah Symp Young Artist Comp, 1980. Pr Va, Boston Civic Symp, 1979-
81; Va: Boston Ballet Orch 1980-84, Boston Pops 1980-84; Rotating Ass t Pr
Va, Minnesota Orch, 1984-86; Boston Symp Orch, 1986-. Soloist in Chile,
Atlanta Chmb Orch, Savannah Symp, Mississippi Valley Chmb Orch, SE
Mus Fest Orch, Redlands, CA, Symp (XVII Int’l Va Congress 1989). Degree
in Industrial Design, Dakalb Coll, Atlanta, Ga.

DLOUHY, LADISLAV (1949-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.’’

DOBREV. BOJIDAR, b 1946, Varna, Bulgaria. Stud: Varna Mus Sch,
Peter Stefanov, 1957-65; Sofia Musakademie, Emil Abadjiev, 1969-74. 1st
Prz Bulgarian Nat l Compt, 1964, 1974. Va, Ens Chmb-Mus for Bulgarian
Young Musicians, Eolina Q, Bulgarian Opera Chmb Ens, 1973-82; Bulgar¬
ian Nat l Opera Symp Orch, 1975-82; Pr Va: Sofia Radio Symp Orch, 1982-
87; Hofer Symp, W Ger, 1987-. Bulgaria Prem Pf: M. Glinka Sonate;
Paganini Sonata per la Grand ’ Va; Beethoven Notturno Op. 42; works by
Bulgarian Comp: P. Stoyanov, J. Kruschew, G. Kostov, F. Pavlov, D.
Sagayev, K. Ilievski, L. Todorov. Prof Va & Methods, Sofia Mus Acad,

1974- 82; Tch Va Sofia Mus Sch, 1974-87. Has written many articles about
the Va, its mus, pedagogy, and Bulgarian Comp. Has trans, edited, pub¬
lished many works for Va & Pno. O&P Avramov, 1945.

DOKTOR, PAUL, b 1919 Vienna, Austria, d 1989 NYC. Stud: with
father, Karl Doktor; State Acad Mus Vienna, Diploma Vn 1938. Vn, Va Adolf
Busch Chmb Orch 1936-38. 2nd Va, Busch Q for Quintets (plan to record
all 2Va Quintets abandoned-World War II). Va Toscanini’s Lucerne Fest

Biographies of Violists

375

Orch 1939. Pr Va Lucerne Symp 1939-47; Paul Sacher’s Collegium Musi-
cum, Zurich 1940-47. 1st Prz Geneva Int’l Va Compt (unanimous) 1942.
Moved to USA 1947. Va NY Philh 1948. U of Michigan (found mbr) Stanley
Q and Prof of Va, 1948-51. Tch: Mannes Coll of Mus 1952—; NY U, Mus
Division, I960-; Farleigh Dickinson U 1968-; Juilliard 1977-. Guest Prof Va
Salzburg Mozarteum and numerous Universities in USA, Eng, Ecuador,
Korea, giving master classes, clinics, lectures. Found mbr Rococo Ens; NY
Str Sextet; New Str Trio of NYC; Duo Doktor-Menuhin (VA, Pno, Yaltah
Menuhin, pno) 1955-63. Many solo pf with orch and rects with pno in USA,
Eng, So America, Europe, Orient. World Prem Pf Quincy Porter Va
Concerto, Columbia U (American Mus Fest) 1948; BBC Wilfred Joseph
Va Concertante (Meditatio di Beornmudo). Prem record Walter Piston Va
Concerto, Louisville (KY) Symp. Prem Pf, Ded Robert W. Jones Va
Concerto, Plymouth (Mich) Symp. Many other important records for
Telefunken, Westminister, Odessey, ABC, Mirrosonic, BSAF, CBS
Columbia. Ed and trans many works for Va pub by G. Schirmer, IMC,
Doblinger, A. Broude, Oxford U Press. Solo rctls: IVG Congresses: V
Rochester, NY, 1977; XII Boston, 1985; Tertis Int’l Va Compt and Wkshop,
1980. Awards: ASTA Artist-Teacher of the Year and Life Mbrship, 1977;
Honorary Life Mbr IVG 1985.

DOKTOR, KARL. See Volume 1.

DOLEJSI, ROBERT (1892-). See Chapter XVII, “The Czechoslovakia
Viola School.”

DOLEZAL, KAREL (1948-). See Chapter XVII, “The Czechoslovakia
Viola School.”

DORIAN, DIMITRIJE (DINO) (1909-). See Chapter XVI, “The Viola
in Yugoslavia.

DORO, MAURIZIO (1942-). See Chapter XV, “Italian Violists.”

DOWNES, HERBERT b 1909; Walsall, Eng. Stud Vn Paul Beard, Carl
Flesch. Va Henry Holst Q 1931. Pr Va Liverpool Philharmonic 1942, Liv¬
erpool Philharmonic Q; Pr Va London Symp Orch; Pr Va Philharmonia
Orch. O&P Francesco Goffriller, and Gaspar da Salo Vas.

DRUNER, ULRICH, (Add to Vol I). Significant research described in
articles: “Das Viola- Konzert for 1840,” Fontes Artis Musicae, Vol. 28/3,
1981; and “Violoncello piccolo und Viola Pomposa, bei J. S. Bach,” Das

376

The History of the Viola

Orchester, Vol. 11, 1984. Host-Chairman X IVG Congress, Stuttgart, W
Gr, 1982.

DRUZHININ, FEDOR SERAFIMOVICH, b 1931, Moscow. Stud:
Central Mus Sch of Moscow Cons, Nikolai Sokolov, 1944-50; Moscow Cons,
Vadim Borissovsky, 1950-55, grad with distinction; post-grad V. Borissovsky
1955-57. Tch, Moscow Cons, 1957-, Prof & Head of Va & Harp 1980-.
Merited Artist of RSFSR, 1966. Beethoven Q, 1964-, Pf and Record all
Beethoven Qs; collaboration with Dmitri Shostakovich in Prem Pf & Record
Q No. 9 and onwards, Pf all Shostakovich Qss in Moscow & Leningrad; Pf
most of the classical literature for Va 1957-, including Prem Pf in USSR
Bartok Concerto. Ded: Shostakovich Sonata for Va b Pno, Op. 147, 1975.
Ded by other Soviet Comps: R. Ledenev Concerto-poem for Va b Orch; G.
Frid Concerto for Va b Orch, Sonata for Va b Pno; M. Weinberg Va Sonata
No. 1. Druzhinin’s Own Comps: Va Sonata, 1961; Va Variations, 1968; Duet
“ Prodigal Son” for Basso b Va, 1978, Fantasia for Va b Pno in memory of
V. Borissovsky, 1980; Duet for Two Va, “Sinifonia a Due” in memory of
Romain Gary; also children’s songs & mus for theatrical pf. Soloist IX IVG
Congress, Toronto, 1981. Plays Andreas Guarneri, 41.5 cm, (16 3/8 in.).

DUCROCQ, CLAUDE, b 1943, Troyes, Fr. Stud Ecole Nat l Troyes
1951-9, CNSM-P, Etienne Ginot 1960-3, 1st Prz 1963; Fribourg, Ulrich
Koch 1965-8. Orch Lamoureux 1963-4, Radio Symp Luxembourg 1964-5,
Pr Va Orch Philh Strasbourg 1969-, Prof Va Cons Nat l Region Strasbourg
1969-, Trio col’Arco (Karlsruhe) Tournee de Concert in Allemagne 1965-6,
Brahms String Sextet 1975-9. Harold in Italy: Recorded by Erato 1973, with
Orch Philh Strasbourg, Cond Alain Lombard; same concert televised in 1976
in Strasbourg; R. Strauss Don Quichotte, Op. 35 with Jean Deplau, cello,
Orch of Strasbourg, A. Lombard, dir, 1975 & 79; Harold in Italy for XXV
festival of Lausanne; Mozart’s Symponie Concertante K.364, Strasbourg
with Henryk Szeryng 1981; Prem Pf in France, D. Schostakovich Sonata Op.
147, 1980. Jury, Maurice Vieux Int’l Concours de l’Alto 1986. O&P Paolo
Antonio Testore, 1746. Bow: Sartory 1946, formerly used by M. Vieux.

DUNHAM, JAMES, (Replaces item in Vol. 1 ) b 1950, Washington,
D.C. Stud: Interlochen Arts Acad, Diploma with Honors, Raymond Stil-
well, 1966-68; Carleton Coll, Harry Nordstrom, 1968-70; Calif Insti Arts,
B.F.A., David Schwartz, 1970-72, M.F.A., Alan de Veritch, 1972-74.
Founding Mbr Sequoia Q, 1972-87. Artist-in-Residence, Chestnut Hill
Cones, Madison, CT, 1972-80. Pr Va: Calif Chmb Symp (Henri Temianka,
cond), 1972-80; Los Angeles Chmb Orch (Neville Marriner, cond), 1973-
78; Cleveland Q, 1987-. As Mbr of Qs many comm & many fests. Ded:
Anthony Ploy Miniatures for Va b Wind Quintet; Karl Kohn “Colla Voce ”

Biographies of Violists

377

for Va 6- Guitar. Solo, Crystal Records. Fac: Calif Inst Arts, 1974-87; Calif
State U/Long Beach, 1983-86; Eastman Sch Mus, 1987-. O&P Gasparo da
Said, c.1585.

DUPOUY, JEAN, b 1938. Stud CNSM-Paris with Etienne Ginot, 1st
Prz 1960. Pr Va Israeli Cham Orch Ramat Gan 1963-5. Buffalo, N.Y. U,
Creative Associates with Lucas Foss 1965-8. Laureate, Va Int’l Concours
Budapest 1968. Pr Va Amer Symp Orch cond Leopold Stokowsky, Compos¬
ers Q (records C.R.I., Nonesuch) 1965-70. Prof Va N Y Univ Stony Brook,
Temple U Philadelphia, New England Cons Boston. Ass t Pr Va Paris Opera
Orch 1974-9. Pr Va Orch de Paris, cond Daniel Barenboim.

DURRANT, JAMES, b Bournemouth, Eng. Stud London; Prague
Ladislav Czerny. Friend and expert of Hindemith. Va Bournemouth Symp;
Pr Va Scottish Nat l Orch; Pr Va Scot Baroque Ens; Found memb New Mus
Group of Scotland. Senior Lect RSAMD. Dir Scottish Va Int’l, RSAMD,
Glasgow. Many rctls home and abroad.

DUSSEK (DUSIK), ADALBERT. See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

DVORAK, ANTONIN (1841-1904) See chapter XVII, “The Czechoslo¬
vakia Viola School.”

EATON, STEUART, b 1958, Aylesbury, G Br. Stud: Aylesbury Gram¬
mar Sch, Bruce Lawrence 1967-73; London RCM, Frederick Riddle 1974-
8, Margaret Major 1978-9; Scuola di Mus, Fiesole, It, Piero Farulli 1980;
High Sch Mus, Aachen, WGr, Hariolf Schlichtig & Koln, Amadeus Q 1982-
61; U fo Maryland, Michael Tree & Guarneri Q 1986-7. Pr Va Eur Com¬
munity Youth Orch 1978-82; Pr Va La Scala Orch, Milan 1979-80. Auryn Q
1981-. Ded & Prem Manfred Trojahn, Hans-Jurgen von Bose, Quartets.
O&P J.B. Vuillaume c. 1843, ex-Comte Doria. The Doria family coat-of-arms
is pictured on back of instrument (see Roger Millant’s book J.B. Vuillaume,
1972).

EHRLICH, DON, b 1942, Buffalo, NY. Stud: Oberlin Coll, B.M.,
Mozarteum Acad, 1963, Willliam Berman 1961, 1964; Manhattan Sch Mus,
M.M., William Lincer, 1964-66; U Michigan, D.M.A., Francis Bundra,
1970-72. Pr Va Toledo Symp, 1971-72; Va San Francisco Symp, 1972-(now
Ass’t Pr). USArmy/West Point Q, 1968-70; Aurora Q, 1979-83; Stanford Q,
1983-85. Ded & Prem Pf Stephen Kleinman Festivity for Va, Fl, Alto Fl, &-
Harp, 1972; Stravinsky Elegie, Germain Prevost Memorial (written for
Prevost), 1987. Instructor: Kent State U, 1968-70; Oberlin Coll (for

378

The History of the Viola

Berman) 1971; San Francisco U, 1972-73, San Francisco Cons, 1972-. O&P
Max Frirsz, 1964.

EHRLICH, PAUL, b 1957, Kampapa, Uganda. Stud: RCM, London,
Cambridge U, Eng, Jaroslav Vanecek, Eli Goren, 1975-79; Aspen Sum,
Karen Tuttle, 1982,84; Yale Sch Mus, Raphael Hillyer, Tokyo Q, 1979-82,
D.M. 1987. Va: Assoc Pr Phoenix Symp 1982-85; Oakland Symp 1985-6;
Santa Fe Opera Orch 1986-7; Saint Paul Chmb Orch 1986-87. Assis Prof
Va, U No Colo, 1987-88. Prem Pf Glen Stallcop,Va Sonata, Flute Trio ; pf
Penderecki 2nd Q. O&P Marten Cornelissen 1987.

ERDELYI, CSABA, (This replaces this listing in Vol I) b. 1946, Buda¬
pest, Hungary. Stud: Budapest Listz Acad, Pal Lukacs 1965-70; London,
Yehudi Menuhin 1970-72; Cornwall, Bruno Giuranna 1975-78; Music,
Spiritual Development, Breath Release, Paul Romer 1980, Fredric Lehrman
1981. Only 1st Prz Carl Flesch Int’l Violin Compt played on Va, 1972. Pr Va
London Philh 1974-78; Esterhazy Baryton Trio 1973-78; Chilingirian Q
1981-87. Prof Va London Guildhall Sch Mus 1980-87; Prof Va Indiana U
1987-, also tch course “The History of the VA”; Coaching Prof European
Youth Orch; Master Class Scottish Va Int’l, Glasgow 1979. Prem Pf: Edward
McGuire Martyr for Solo Va, USA; Britten Lachrymae, Hungary; & Ded:
Stephen Dodgson Caprice after Puck for Solo Va; & Comm: Melaine
Danken Sonata for Va 6- Pno at VI IVG Int’l Va Congress, London, with
composer at piano, 1978. Record Mozart Symphonia Concertante for film
“Amadeus.” Record: Decca, EMI, Philips. Found Patron & Jury Tertis Int’l
Va Compt, Isle of Man 1980. Pf XVII IVG Int’l Congress, Redlands, CA
1989. In summer, 2 months in IDRIART (Institute for the Development of
Inter-Cultural Relations through the Arts, objective is to promote friendship
between all races and all social systems). O&P Max Frirsz, 42 cm. (16 1/2 in.)
1961. See also The Strad, March, 1989.

ESCOFFIER, LOUIS CASIMIR, 1801-1877. See CASIMIR-NEY,
LOUIS. Also see Chapter X, “The Identity of L. Casimir-Ney.”

EVANS, CLARENCE B. b. 1888, St. Paul, Minnesota; d 1947. Stud:
Chicago Musical Coll, Hugo Kortschak, 1907-11. Pr Va San Francisco Symp
& San Francisco Chmb Mus Soc (Cond Louis Persinger), 1915-6; Va Chi¬
cago Symp (Cond, Frederick Stock, Desire DeFauw), 1912-26, Pr Va 1926-
39. Berkshire Q 1916-20 (H. Kortschak, vn); Gordon Q (Jacques Gordon,
vn) 1922-35.

EVANS, STANLEY R., b 1920, Pittsfield, Mass, son of CLARENCE
B. EVANS. Professional Va until W. W.II. After War Harvard Law Sch, Mus

Biographies of Violists

379

as avocation. La in Calif, retired in Palo Alto. Va Chmb groups. Mother,
Louise Evans, pno, comp, Va, Chicago Women’s Symp. Older brother
DONALD Va Chicago Symp 40 years; Donald’s wife, MARGARET, cello,
Chicago Symp 37 years; frequent chmb mus. See also Stanley R. Evans, “My
Father, Clarence B. Evans, ’’Journal of the American Va Soc, Vol. 3., No. 3,
1987.

FARULLI, ANTONELLO (1957-). See Chapter XV, “Italian Violists.”

FARULLI, PIERO (1920-). See Chapter XV, “Italian Violists.”

FERRAGUZZI, RENZO (1915). See Volume I, APPENDIX.

FERRITTO, MARCIA LEIGH, b 1940 Manhattan, NYC. Stud: Max
Aronoff, William Lincer. Bryn Mawr Coll B.A. 1961. New Sch Mus Phila¬
delphia 1958-61. Blue Hill, Maine, Joseph Fuchs, Arthur Balsam, 1957-58.
Va First Int’l Congress Str, dir Roy Harris, 1959. Asst Pr Va: Pennsylvania
Ballet Orch; 1964-66; New Haven (Conn) Symp Orch 1967-70; mbr New
Haven Symp Chmb Players 1967-70; New Marlboro Chmb Players 1968-
69; Pr Va Columbus (Ohio) Symp Orch 1979-83; Ohio Chmb Orch 1983-.
Radnor Str Trio 1964-67; Trio d’Accordo 1978-79. Artist-in-Residence
Wittenberg Sch Mus 1972-79; Va Lecturer Baldwin-Wallace Coll Cons
1983-; Va Instructor Cleveland Insti Mus 1987-. Prem Pf John Ferritto
Canzone Op. 8; Donald Erb Harold s Trip to the Sky for Va, Pno, Percus¬
sion, record: Crystal. Prem Pf and Ded James Waters Va Concerto with
Chmh Orch 1989. Pf many contemporary works by Bulent Arel, John
Davison, Robert Palmer, Marcel Dick (3 for 1), and others. O&P Lorenzo
Storioni, Cremona, 1780, ex-Marcel Dick.

FIELD, RICHARD L., b 1947, Wilmington, Delaware. Stud:
Eastman; Sch Mus, U of Rochester, B.Mus, Pf Certificate Va 1966-69;
Juilliard Sch, M.S. 1970-71. Assoc Pr Va, Denver Symp 1972-74; Pr Va,
Buffalo Philh 1975-79; Pr Va, Baltimore Symp 1979-. Pf Berlioz Harold in
Italy, 1987; Bartok Concerto (3 times) Rochester Philh; Walton Concerto,
Buffalo Philh, Denver Symp, Baltimore Symp. Rowe Q 1980-83. Prof Va,
Peabody Cons 1982-, Lect Va, American U 1979-82; Lect Va, Catholic U
1983-. Works Ded by Lawrence Moss, and Vivien Adelberg Rudow. O&P
Helmuth Keller, 1981.

FINGER, GOTTFRIED, d.1730. See Chapter XVII, “The Czechoslo¬
vakia Viola School. ”

380

The History of the Viola

FINKO, DAVID, b 1936, Leningrad, USSR. Va, Comp, Cond, Pno.
Stud: Leningrad Cons, 1960-65; Va Eliah Lukashevsky, 1966-67. Va &
Managing Dir, Vyborg Palace Symp Orch, Leningrad, 1965-73. Ed, Soviet
Composer Publishing House, Leningrad, 1973-79. Assoc Prof, Combs Coll
Mus, PA, USA. 1984-; Adjunct Assoc Prof, U PA, 1980- Comps Prem by
Leningrad Philh: Concerto for Va b Orch, 1971, 1972, this Concerto, in one
movement (15 Minutes), was pf by Robert Vernon, Va, and The United
States Air Forces Symp Orch, Lt. Dennis Layendecker, Cond, at the XIV
IVG Congress, Ann Arbor, 1987; Concerto for Vn b Va with Orch, 1973;
Concerto for Va b Double Bass with OKrch, 1975; Prem in USA, Concerto
for Va d’Amore, Guitar, b Orch, 1977. Awards: Fromm Foundation,
ASCAP, Memorial Foundation Jewish Culture. For more about David
Finko see “A Russian Composer and His Works for Viola,” Violexchange,
Vol. 2, No. 3, 1987; “The Violists in Leningrad, ” Journal of the AVS, Vol.l,
No. 2.

FIORILLO, FEDERICO See Volume I, APPENDIX.

FISHER, MARLOW, b 1957, Los Angeles, CA. Stud: Calif Insti Arts,
Alan deVeritch, Chmb Mus Cesare Pascarella, Ahmanson Scholar, 1975-78;
Mus Acad West, Santa Barbara, CA, Milton Thomas, Bertram D. Thomas Va
Award, 1977; William Primrose, Provo, UT, 1979-80. Pr Va Mexico City
Philh 1978-79; Soloist NY Chmb Orch 1986-; Va NY Philh 1984, Los An¬
geles Chmb Orch 1987-; Marmottan Trio 1985-; Vermilion Q 1981. Pf:
Vaughan-Williams Flo Campil with C.O.T.A., Los Angeles; Bartok Con¬
certo, Calgary Philh, Banff; Walter Kaufman Suite for 3 Vas (with Primrose);
Vaughan-Williams Four Hymns, Robert White, tenor; Chmb Mus with Zara
Nelsova and Anton Querti. Trans and edit works by Corigliano, Gershwin-
Heifetz, Rachmaninoff, Ravel, Tschaikowsky, Schubert. Found/Dir VIOLA
PLUS, NYC 1985, organiz for pf vl repertoire and creation of new Va works,
over 20 concerts featuring 59 works for VA. O&P Vittorio Bellarosa, 1957.

FOCHEUX-LEMOINE, MICHELINE, b 1919, Maubeuge Nord, Fr.
Stud: CNSM-P: Va, Maurice Vieux, 1st Prz 1942; Cham Mus, Joseph Calvet,
1st Prz 1943; Cham Mus, Joseph Calvet, Prem Prz 1952; Mus Hist, Norbert
Dufourco, 1st Prz 1947; Musolgy Dipl, 1948; Advanced Stud, William
Primrose. Prem Pf & Record in Fr Bartok Concerto, interpretation of W.
Primrose 1953, also Pf in 11 foreign countries incl USA & Can. Pr Va Orch
Nat l Fr-Paris 1948-84. Teh Cons Natl de Region de Paris 1957-.

FORBES, WATSON, Va and Cond, b. 1909 St. Andrews, Scotland.
Stud: London RAM 1926-31; Otakar Sevcik, Pisek, Czeck; Albert
Sammons, London. Aeolian (Stratton) Q 1932-64; London Str Trio 1942-64;

Biographies of Violists

381

London Piano Q 1945-64; Pr Va London Sym Orch 1940-5; Prof Va &
Chmb Mus London RAM 1944-64; Head Mus BBC Scotland 1964-72;
Chrm James Caird Scholar Cmte 1968-78; Examiner for Assoc Board Royal
Schs Mus 1948-83; Hon Fellow RAM 1950; Hon Dr Music Glasgow U 1966;
Hon Fellow RSAMD 1986. Many Pre Pf of Bax, Bliss, McEwen, etc. Cone
extensively in G Br and Eur. Chosen by Elgar to record Q and Pno Quint
1932, HMV; record chmb and Va solos for Decca, World Records, Brit
Council, HMV, EMI. Arrs pub Oxford Univ Press (and Assoc), Peters,
Hinrichen, Schott, Chester, etc. Wrote A History of Music in Scotland, pub
by BBC, also Catalogue of Chamber Music. Over 100 Ed & Trans for Va.
O&P Guadagnini 1778; William Luff 1976. Played Archinto Stradivarius
1950-60.

FORMENTINI, MARCELLO (1906-74). See Chapter XV, “Italian Vi¬
olists.”

FORT, ABILI, b 1945, Barcelona, Spain. Stud: Vn, Va Cons Barcelona,
1962-71; priv Enrique Santiago 1972-74, Nestor Eidler 1975-78. Va:
Barcelona Opera, 1979-83; Barcelona Symp, 1979-86; Technical Dir
Barcelona Symp, 1986- Found & Pf Gaudi Q 1987-; and other chmb mus.
Comm: Angel Orda Va Concerto; Salvador Brotons Sonata for Va &- Pno;
Rafael Fenerl VA Q; Francisco Fleta Va Sextet; Pere Puertdan Va Sextet.
O&P Antonio Capela, 1969.

FOSTER, DANIEL, b 1969, Bethesda, Maryland. Stud: Vn, William
Foster (father), 1973-80; Ronda Cole, 1980-87; Va, Oberlin Cons Mus,
Jeffrey Irvine, 1987-; Donald Mclnnes, Sum 1989. 1st Prz Primrose
Memorial Scholarship Compt of AVS; Pf World Prem Wayne Bohrnstedt
Concerto for Va, Redlands Symp, June 22, 1989. O&P William Weaver,
Bethesda, MD, 1988.

FRANCAVILLA, GIUSEPPI (1933-). See Chapter XV, “Italian Vi¬
olists.”

FRANJlC, IVICI (1916-1980). See Chapter XVI, “The Viola in Yugo-
slavia. ”

FRANK, MADELINE, b 1953, Long Island, NY. Stud: Juilliard Sch
William Lincer, 1972-79; U Cincinnati, Eugene Becker, Summers 1973, 74,
75; Indiana U, Leonard Davis, Summers 1976, 77. Metropolitan Opera
Ballet Orch 1978-; Pr Va: NYC Opera Tour 1981, Opera Ebony 1981, 92nd
Street Y Wkshp Orch 1975-78. Debut Purcell Room, London, 1986.
Freelance NYC 1976-83. Prem Pf, Ded William Stoney Sonata for Va and

382

The History of the Viola

Pno 1986, Quintet for Va, Clar, Fl, Pno, Gui 1986. Tch St. Leo Coll 1984-;
Priv NYC 1976-83, Virginia 1983-.

FUCHS, LILLIAN, b 1903, NYC. Stud: NY Insti Mus Arts, Vn
Svecenski, Kneisel; Comp Goetschus. Perole Q 1925-40’s; Chmb Mus with
brothers, Joseph, Vn, Harry, Cello. Casals Fest 1953. Tch Manhattan Sch
Mus 1962-; Aspen 1964-; Juilliard 1971- Master Class IX Int’l Va Congress,
and honored with a plaque in recognition of long service and dedication to
the viola, Toronto, 1981. Record: earliest record Bach Cello Suites for Va;
Mozart Sinfonia Concertante K369/320d, Duos K423-4 both with brother
Joseph. Ded and Prem: Jacques de Menase Sonata 1955; Martinu Madrigaly
for Vn , Va 1947, Sonata for Va, Pno 1956; Quincy Porter Duo for Vn, Harp
1957, Duo for Vn, Va 1962; Rieti Triple Concerto for Vn, Va, Pno, Orch
1973. Fuchs own comps for Va: 12 Caprices 1950; Sonata Pastorale 1956; 16
Fantasy Etudes 1961; 15 Characteristic Studies 1965. Many Studts in Major
Symp and Tch in Universities. O&P Gasparo da Said. See New Grove Dic¬
tionary of Music and Musicians.

FUKAI, HIROFUMI, b 1942, Tokyo, Japan. Stud: Toho Mus Sch; Vn:
Juilliard, Ivan Galamian; Montreux, Joseph Szigeti; Basel, Max Lesueur.
Changed to Va 1968. Pr Va Bern Symp Orch 1968-69, Hamburg State Philh
Orch 1970-. Many recordings. Prof Va Hamburg Acad Mus 1974-. Jury,
Tertis Int’l Compt & Wkshop, Isle of Man 1984.

GALKOVSKY, ALEXANDER. Stud: Moscow Cons. Co-Found Shasta-
kovich Q, 1967.

GAMBUZZI, EDGARDO (?-?). See Chapter XII, “A Brief History of
the Viola in Argentina. ’’

GANSWIND, ROBERT (1772-1833). See Chapter XVII, “The Czech¬
oslovakia Viola School.’’

GAUDFROY, BERNARD, b 1946, Fr. Stud: CNSM-P, Va Etienne
Ginot, 1st Prz; Chmb Mus J. Hubeau, 1st Prz. Grad Stud Leon Nauwinck,
J. Calvet, Bruno Giuranna. Dipl d’Honneur-Acad Chiciana. Orch de Paris,
Fr Nat l Orch, Ens Instru de Fr. 1st recording AFX Bosely Str Trios. Ded:
Limits for Viola Solo, Francis Baguerre. Tch Ch Mus Lille Cons. An Orga¬
nizer 2nd Maurice Vieux Compt, Lille 1986. O&P Copy Paganini Strad by
JB Vuillaume #2342, Paris, c. 1860-1. 41.3 cm., 16 1/4 in.

GEIDEL, LINDA S, b 1954, Queens, Long Island, NY. Stud: Peabody
Cons, B.M., Karen Tuttle, 1973-77; Juilliard, M.M., Lillian Fuchs, 1977-

Biographies of Violists

383

79. Va Hartford Ct Symp 1979-80; Asst Pr Va/Education Dir Jackson MS
Symp 1980-85; Asst Prof Va Ball State U 1985-. O&P James R. Coggin,
1979.

GEORGE, THOM RITTER, b 1942, Detroit, Michigan. Stud: Felix
Resnick 1954-60; Eastman Sch Mus, B.M. 1964, M.M. 1968, Millard
Taylor; Catholic U, D.M.A. 1970. Pr Va National Music Post-camp Orch
1962, 1963. USA Navy Band 1966-70. Now active as composer, Orch Dir,
and Prof Mus Idaho State U, Pocatello, Idaho. Comp for Va: Sonata for Va,
Harpsichord, CN 100, 1962; Dance Suite for Va, Perc, CN 325, 1985; 5 Qs
1961, 1961, 1962, 1963, 1964. O&P Edward S. Brown, Idaho Falls, ID,
1985.

GERMANO, ROCCO, b 1921, Plati, Reggio Calabria, Italy. Stud:
Adolp Pick 1939-40; Notre Dame U 1941-43; Chicago Musical Coll, M.A.
Pf Va, Paul Stassevitch, 1946-49. Asst Pr Va New Orleans Symp 1949-50;
Va Chicago Symp 1950-55; Pr Va Grant Park Symp 1955; Chicago Lyric
Opera 1955-56. Tch St. Marys Coll 1956-81. Found mbr South Bend
Chmb Mus Soc, which promoted Q playing. Found/Cond South Bend Youth
Orch 1966-. Assoc with public sch str tch for 21 years, retired 1986. O&P
William Westman, 1946; Pietro Sgarabotto 1950; Gasparo da Said? (“Beau¬
tiful sound, but I think only the label is original!”)

GHEDIN, ALFONSO (1936-). See Chapter XV, “Italian Violists.”

GILBERT, MAX, b 1912, Leicester, Eng. Stud: London RAM 1929-
35, Rowsby Woof. Privately Lionel Tertis, William Primrose 1935-39. Pr Va
London Sym Orch 1938-48; Pr Va Royal Air Force Orch 1940-5; Pr Va
Glyndebourne Opera Orch 1934-9; Pr Va Boyd Neel Str Orch 1934-53;
Co-Pr Va Philharmonia Orch 1953-61; Griller Q 1934-50; International Q
1930-4; Hirsch Q 1942-7; Aleph Q 1948-84. Senior Prof & Examiner RAM
1948-84. O&P Bernardo Calcagni, Genoa, 1735.

GILLIS, ALBERT (Also see Vol. I) Pf Shostakovich Sonata and
Vieutemps Sonata in B ^ on tour 1980-81; Berlioz Harold in Italy for Va and
Pno (Liszt trans) with Leslie Howard, 1985. Retired, Prof Emeritus, U Calif
Fresno, 1986. Honored by U of Texas for his pioneer work in developing
strings in the state of Texas and for his many contributions to the String Dept
of the U Texas, 1987. O&P J.B. Guadagnini, 1774.

GINOT, ETIENNE, (See also Vol. I) d. 1978.

384

The History of the Viola

GIORGETTI, FERDINANDO (1796-1867). See Chapter XIV, “Un¬
published and Out-of-Print Italian Viola Music of Giuseppe Sarti and Ger-
dinando Giorgetti,” also see Vol. I, APPENDIX.

GIULINI, CARLO MARIA (1914—). See Chapter XV, “Italian Violists.”

GIURANNA, BRUNO (1933-). See Chapter XV, “Italian Violists,” also
see Vol. I, APPENDIX.

GLAZER, ROBERT, b 1939, Anderson, Indiana. Stud: Chicago Mus
Coll, B.M., M.M.; Columbia U, work toward Doctorate 1984; privately:
William Primrose, William Schoen, Harry Zaratzian; cond: Walter Susskind,
Peter Paul Fuchs. Va Chicago Symp 1961-67; Co-Pr Va St. Louis Symp
1967-70; Pr Va Little Orch Soc of NYC 1984. Hartt Q 1970-75. Assoc Prof
No Carolina U 1975-84; Adjunct Prof Columbia U 1984. Prem Pf David
Epstein Fantasy Variations for Solo Va, Kresge Hall, M.I.T., Cambridge,
MA; Prem Pf and Record Morton Gould Va Concerto, Louisville Orch 1984,
First Edition Records, 1988; Prem Pf and Ded to Robert and Gilda Glazer
by George Walker Sonata for Va and Pno. Cond of Strickly Strings, NYC.
Well known bow collector. O&P Jacobus Stainer, 1670.

GLYDE, ROSEMARY, (Also see Vol. I) Stud: Raphael Bronstein 1970-
73, Dorothy DeLay. Fac Hartt Sch Mus (substitute for Scott Nickrenz)
1987-; Sewanee Summer Mus Fest 1982-. NYC Rctl Debut 1984. Soloist
with Orch: Anchorage, Bangor, Chicago Classical, Manticore, Sewanee
Fest, Putnam-Westchester Cone Soc, Aspen Philh. XIII IVG Congress, pf
Hans Sitt Konzertstuck for Va and Orch, Boston, 1986; XVII IVG Congress,
Redlands, 1989. Prem Pf Norman Cazden Viola Concerto. Comm and Prem
Pf: Judith Shatin Allen Passages for Va Alone, 1973; Arche for Va and Orch,
1978; VEtude du Coeur for Solo Va, 1982; Glyph for Va, Str Q, and Pno,
1984. Record: Musical Heritage Soc, Educo. Fac Aspen 1988. Treas AVS
1987-. Articles: The Journal of the American Va Soc ; The Instrumentalist.
O&P Benjamin Banks, London, 1786 (see Chap V); William Salchow bow.

GOLANI, RIVKA (Also see Vol. I.) Pf IX IVG Cong, Toronto 1981;
Tertis Int’l Compt and Wkshop, Isle of Man, 1984. Many composition Ded/
Pf include works for Va and Pno by Alfred Fischer Parables and Canons,
Patricia Holt Metamorphosis; Norma Beecroft Troissant, Larry Lake Slowly
I Turn both for Va and 2 Perc; Heinz Hollinger Thema for Solo Va 1981;
Brian Cherney Seven Miniatures 1978; Bruce Mather Gattinara 1982; Robin
Holloway Va Cone 1985; Michael Colgrass Variations for Va and 4 Drums,
and Chaconne for Va and Orch, Comm and Pf with Toronto Symp, Andrew

Biographies of Violists

385

Davis, Dir, 1985. Rctl with Samuel Sanders, Kennedy Center, 1986. Also
Composer, Painter, Mathematician. O&P Va by Otto Erdesz.

GOLDSMITH, PAMELA (Also see Vol. I) Prem Pf Frank Campo
Canto Notturno for Va and Perc, Op. 69, 1984. Pr Va: Early Mus Acad
1982-88; Glendale Chmb Orch 1987-; and Soloist Mus Fest Arkansas 1988;
Cabrillo Mus Fest (Werner Henze Va Concerto, West USA Prem); Santa
Cruz Baroque Fest ( Brandenburg #6). U of Calif Northridge U Wind Ens
(Morton Gould Concertette for Va and Band). Emeritus winner “Most Valu¬
able Player (Va)” Award, Nat’l Acad Record Arts and Sciences, Hollywood
Chapter. On Century Cable Television “Presenting Pamela Goldsmith, Va.”
Prof of Va Calif St U Northridge 1985-. Teh Va Pedagogy, USC, 1987, 88.
Extensive scholarly research into the history and use of the bow. Lect-rctls:
VSA Convention, Portland, Oregon, 1987; XVII IVG Congress Redlands,
Calif, 1989. O&P Gasparo da Salo, c. 1580, and copy by Otto Karl Schenk,
1976.

GORDON, NATHAN (Also see Vol. I) Retired Pr Va Detroit Symp
1987. Guest Cond Oakland, Mich Youth Symp 1987-88. Co-Dir/Soloist
Kaleidoscope Cone 1988-. Lect XV IVG Congress, Ann Arbor, 1987. Fac
Congress of Strings 1987,88. Artist-in-Residence, Muskegon, Mich 1988.
Numerous Wkshops and Seminars throughout USA, 1987-. O&P Gasparo
da Salo, Brescia 1570, and copy by Roelof Weertman, Falmouth, Massachu¬
setts.

GOTTHARD, JAROSLAV (1904-). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

GOTZ, FRANTlSEK (1755-c. 1800). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

GOULD, JAMES F., b 1917, Arkansas City, Kansas. Professional Va,
Trombonist, Jazz Expert. Stud: Wichita St U, B.M., Harry Lamont 1936-
40, David Robertson 1946-47; USC. M.M., D.M.A., Anton Maaskoff,
1963-64. During W.W.II Pr Trombone US Army Band, Washington, D.C.
Pr Va Flagstaff, Arizona, Summer Fest Symp; Flagstaff Symp Q. Va Fac No
Ariz U. Pf and Record jazz with Jay McShann, Charlie “the Bird” Parker,
Harry James, Tony Bennett, and others. Still active as pf of jazz, and editor/
advisor for Prentice-Hall. O&P Umberto Lanaro, 1966.

GRAHAM, JOHN, b 1936, Delano, Calif. Stud: San Francisco
Cons, Philip Burton 1954-58; U of Calif, Berkeley, B.A., 1955-60; Priv:
William Primrose, Aspen 1958, Los Angeles 1963; Renzo Sabatini, Rome

386

The History of the Viola

1962; George Neikreig, Brussels 1965. Beaux-Arts Q (Naumberg Award
1966) 1965-70; Speculum Musicae (Naumberg Award 1971) 1970-; Galimir
Q 1970-86; Guest Artist with: Juilliard Q, Tokyo Q, American Q,
Mendelssohn Q, Guarneri Q, Kalichstein-Loredo-Robinson Trio, Borodin
Trio, Francesco Trio. Fests: Marlboro, Aspen, Chmb Mus West, Santa Fe
Chmb Mus, Int i Musicians Seminar (Cornwall, Eng), Kuhmo (Finland).
Ded and Prem Pf: Morton Sobotnick Arsenal of Defense for VA and Elec¬
tronics; David Schiff Joyce Sketch for Solo Va; David Wooldridge Three
Diversions for Solo Va; Joith Lessard Four Pieces for Va and Perc; Perry
Goldstein Dances and Obsessions for Va and 3 Clarinets. Prem Pf, World or
American: B.A. Zimmerman Sonata for Solo Va; Ton That Tiet Tierra Feu
for Solo Va; Robert Pollock Violament for Solo Va; Stepan Wolpe Piece for
Va Alone (Trans). Europe Prem: J. Druckman Va Concerto, Berlin Radio
Orch. China, first Va Cone Pf: Bartok Va Concerto, Central Philh Peking.
Record: complete Mozart Quintets, Juilliard Q, CBS; with Speculum
Musicae, CBS, Nonesuch, CRI. Solo Va, Va and Pno, American Composers,
CRI; Anthology of 20th C Mus, 3 Vols, cassette tape, CRI, 1988. Fac Va
Chmb Mus Mannes Coll, NYC 1978-; Artist-in-Residence Va Chmb Mus
State U of NY Stony Brook 1972-; Guest Prof Va Chmb Central Cons Mus,
Peking, China 1983; Master Classes Peking and Shanghai Cons 1982. O&P
Brothers Amati, 1627.

GRANAT, WOLFGANG, b 1918, Karlsruhe, WGr. Stud: Rudolf
Zwinkel, grandfather, 1923-30; Sevcik-Marteau Masterschule, Gisela
Oberrealschule, Munich, Herma Studeny, 1930-36; Annie Steiger Betzak,
Frankfurt, 1937-38; Alexander Petschnikoff, Buenos Aires, 1940-42. Pr Va
Swiss-Italian Radio Symp, Montecenri Q, 1939-40. Va various Argentine
Orchs, SpillerQ, 1942-45. Pr Va Havana Philh, Erich Kleiber, Cond, 1945-
53. Va: Minneapolis Symp, 1954-56, Philadelphia Orch, 1956-Liberty Bell
Str Trio 1985-. Prem Pf in Argentina Walton Concerto, Buenos Aires, 1945.
Rctl, Carnegie Rctl Hall, Vladimir Sokoloff, pno, 1957. O&P Andrea
Guarneri, 1675.

GRAU, EVELYN, b 1952, Huntsville, Alabama. Stud: Priv Russell
Gerhart 1958-71; Peabody Coll/Vanderbilt B.A., Jean Dane; U Mich,
Francis Bundra 1978-79; Acad Mus Chigiana, Siena, Italy, Certif, Bruno
Giuranna 1980; Yale U, M.M., Raphael Hillyer 1981. Va Louisville Orch
1977-78; The Atlanta Virtuosi 1981-; Artist-in-Residence Colden Q, West¬
ern Mich U 1981-83; Asst Prof Va U of Wisconsin/Eau Claire 1983-. O&P
Guarneri, date?.

GREEN, ELIZABETH A.H., b 1906, Mobile, Alabama. Stud:
Wheaton Coll B.M. 1924, M.S. 1928; Northwestern U, M.M. 1939; Eastern

Biographies of Violists

387

Mich U, B.F.A. (Painting and Drawing) 1978. Vn and Q with Jacques
Gordon (Concertmaster, Chicago Symp), Va with Clarence B. Evans (Pr Va,
Chicago Symp) 1930-32. Va WMT Radio Station, Waterloo, Iowa 1930-35;
Pr Va Waterloo-Cedar Falls Symp 1929, Asst Pr Va 1930-31, Pr Va 1932-38,
Pf Hubay Morceau de Concert. Fac U of Mich 1942-75. Pf Maurice Ravel
Trio for Flute, Va, and Harp and Arnold Bax Fantasy for Va and Harp (Lynn
Wainwright Palmer, Harp) U of Mich 1943. Concertmaster and Soloist:
Saginaw Symp 2 years, Ann Arbor Civic Orch 15 yrs, Jackson Symp 2 yrs.
Cond All-Stste Orch, Nat l Mus Camp 1943-47; Guest Cond El Paso Symp
1980. Editor of music for Sch Orchs; author of many important books on
teaching strings, including the Ivan Galamian method Principles of Violin
Playing and Teaching, 1962; and conducting: The Modern Conductor, 1961,
inspired by her study with Nicolai Malko, and The Dynamic Orchestra,
dedicated to five of her former teachers, including Clarence B. Evans (1888-
1947), her va tchr. O&P Carlo Cortesi, late 17th C.

GREINER, HANS-JOACHIM, b 1948, Coburg, GR. Stud: Berlin
Hochschule fur Musik, Michel Schwalbe, Stefano Panaggio; Chmb Mus,
Sandor Vegh, Raphael Hillyer. Kreuzberger Q 1970-, 1st prz Geneva 1974,
tours and records. Prof Va, chmb mus Berlin Hochschule der Kunste 1980-.
Also viola d’amore. O&P Matthias E. W. Mehue, 1987.

GREITZER, SOL, b 1925, New York City, d 1989. Stud: Vn, Suzanne
K. Gussow 1934-43, Louis Persinger 1943-44; US Army 1944-45; Va,
Milton Katims 1946-50. Va N.B.C. Symp (Toscanini) 1950-53; N.Y. Philh
1953-84, Pr Va 1973-84. Pr Va/Fac/Cond of Young Peoples’ Concerts, Wa¬
terloo Fest, Waterloo Village, NY; 1976-. Found/Dir Greitzer Family Ens.
Ded and Prem Pf: Jacob Druckman Va Concerto NY Philh 1978; William
Thomas McKinley Va Concerto #2 for Va and Orch Los Angeles Chmb
Orch, Cond Jorge Mester, also in Pasadena and Denver 1987; for Sol Greit¬
zer Ens by Paul Chihara Suite; for Sol and Shirley Greitzer by Bright Sheng
3 Pieces for Va and Pno, NYC 1987. Also Pf with NY Philh: Walton Concerto
(Leonard Bernstein); Harold in Italy (Pierre Boulez, Andrew Davis, James
Levine); Der Schwanendreher (Gerard Schwarz, Raphael Kubelick); Don
Quixote (Zubin Mehta, Gererd Schwarz); Symphonie Concertante (Pierre
Boulez, Gerard Schwarz); Berio Chemin II (Boulez, Schwarz). Tch Mannes
Coll Mus, Queens Coll, NYU at Purchase. Master Classes in Cons in Mos¬
cow, Leningrad, Rio de Janiero, and Spoleto Fest.

GRIEBLING-LONG, KAREN, b 1957, Akron, Ohio. Stud: Private,
Samuel Spinak (U of Akron) 1970-74, Edward Ormond (Cleveland Orch)
1974-76; Eastman Sch of Mus, B.M., Francis Tursi 1976-80; U of Houston,
M.M., Milton Katims, Lawrence Wheeler 1980-82; U of Texas/Austin,

388

The History of the Viola

D.M.A., Donald Wright 1982-86. Va: Dror Q, Houston Ballet Orch, Texas
Chmb Orch, 1980-82; Albany Symp, 1986-87; BBC/PBS Pf Benjamin
Britten Curlew River, at S.W. Coll, Georgetown, TX 1985; Asst Pr Va,
Corpus Christi Symp 1985-86. Prem Pf Walter B. Saul Sonata for Va and
Pno 1980; Norman Boehm Introduction and Allegro for Va and Pno, 1987.
Asst Prof Va, Hendrix (Ark) Coll 1987-; Cond Hendrix Coll Str Orch; Co-
Cond Conway (Ark) Civic Orch 1987. Comp: MTNA “Composer of the Year”
Award and Comm Sonata for Va ir Pno. Pf Capitol U, Columbus Ohio 1987;
4 Violettes for 2 Va, Pf James Long & K. Griebling-Long 1984; 3 Sonnets for
Soprano, Va 6- Pno 1982; has also written 5 Qs, 2 Solo Va Sonatas, and
numerous ens wrks with other instrus. O&P Gasparo da Salo copy by
Frederick E. Haenle.

GRIFFIN, JUDSON, b 1951, Lewes, Delaware. Stud: Private, Mischa
Mischakoff 1968-69; Eastman Sch of Mus, B.M., Francis Tursi 1969-73;
Juilliard Sch, M.M, D.M.A., Lillian Fuchs 1973-77. Va Strawberry Banke
Pno Q, Portsmouth, NH 1970-71; Rochester Philh Orch 1970-73; Pr Va
Aspen Chmb Symp, Aspen Fest 1977-80, Smithsonian chmb Players,
Smithsonian Chmb Orch 1982-; Smithson Q (in residence at and making use
of historical instrus of the Smithsonian Institution) 1982-. Prem Pf Solo Va:
Robert Pollock Violament, No Carolina 1977; Maurice Wright Five Pieces,
NYC 1981; Ded, George Tsontakis Fantasy NYC 1975; first pf of many ens
works by leading contemporary composers. Rctl: “American Va Mus” with
comps Milton Babbitt, Virgil Thompson, George Tsontakis, Gift for Lillian
Fuchs 1976; “20th C Mus”, Carnegie Rctl Hall 1981. Plays on Smithsonian
period instrus, including Record: “Mozart Treasury” with Trio K.498; 1st
complete Beethoven, Op. 18 on period instrus. Asst Prof Va, U of No Caro¬
lina/Greensboro, 1977-79. Favorite Va: Baroque: Michael Albani, Graz
c. 1710; Modern: Anon, Bohemian, late 18th C.

GUITTART, HENK, b 1953, Dordrecht, Holland. Stud: Royal Cons
Den Haag, Holland, Jurgen Kussmaul, 1968-78. Prof & Head Chmbr Mus,
Royal Cons Den Haag, 1978-84; Co-founder, Pr Va: Schonberg Ens, 1974-,
Schonberg Q, 1984-, which pf and record complete chmb and Qs of Second
Viennese Sch: Arnold Schonberg, Anton Weber, Alban Berg, Alexander
Zemlinsky. Prem Pf & Record Wim Laman Musica Subtilior, for Solo-Va &
Wind Ens, with Netherlands Wind Ens, Donemus label. Ded: Reinbert de
Leeuw, Etude for Str Q. Organizer “The Viola in My Life Week”, Amster¬
dam, 1986, devoted to 20th c solo-va mus. O&P (?)Guarnerius, 1721.

GUROFF, PETER, b 1959, Madison, Wisconsin. Stud: Oberlin Cons
B.A. 1982; U of Houston M.M. 1984; Va Dorothy Mauney, Lawrence
Wheeler; Chmb Mus coaching, Josef Gingold, Jascha Brodsky, Milton

Biographies of Violists

389

Katims. Daniel Dror Q (U of Houston) 1982-84; Va Texas Chmb Orch,
substitute Houston Symp Orch 1982-84; Guest Pr Va Texas Chmb Orch XI
IVG Congress, Houston 1983; Instructor Va/Chmb Mus Meadowmount
Summers 1983,84; Richmond (Virginia) Chmb Players 1987-; Chmb Mus Pf
with Sergio Luca; Rogeri Trio (Richard Young, Vn; Carter Brey, Cello;
Barbara Weintraub, Pno); Joseph Robertson, Oboeist, etc. Richmond Symp
Q 1986-; Pr Va Richmond Symp Orch 1984-; numerous solo and chmb rctls.
O&P Vincenzo Cavani, 1967.

HADJAJE, PAUL, b. 1928, Maison-Carree, Algiers. Stud: CNSM-P,
Maurice Vieux, Maurice Hewitt, Georges Blanpain; 1st Prz 1950. Concerts
Colonne 1949-; Pr Va Societe des Concerts du Conservatoire 1956-. Pr Va:
Orch Nat’l Paris Opera; Ars Nova Ens, dir by Marius Constant. Prof Va Cons
Nat’l Region Versailles (particularly interested in young students). Designed
pattern of Va by Chistophe Landon (gold medal, tone, Kassel, 1983). Sec¬
retary of Assoc Int’l des Altistes et Amis de PAlto, was one of the adminis¬
trators and mmbr of Jury of Maurice Vieux Int’l Concours de l’Alto, 1986.
Pub 2 Va-Etudes bks. O&P Joseph Guadagnini, Mediolani, It, 1793, 40.5
cm. (16 in.).

HAKEN, RUDOLF, b 1965, Urbana, Illinois. Stud: Guillermo Perich
1980-84; comp, pno Hubert Kessler 1976-85. 1st Prz MTNA 1979, 1983;
Nat’l Fed Mus Clubs 1979; Paul Rolland Memorial Str Compt 1984. Euro¬
pean tours 1985, 1987. Record: Sonic Arts Corp 1987-. Comp: Fantasy for
Va 6- Pno; 2 Suites for Viola Alone; Romance for Va 6- Pno; Alkirenritt for
Va &■ Pno. O&P Anon, Mittenwald, 1975.

HALEN, WALTER J. b 1930, Hamilton, Ohio. Stud: Miami (Ohio) U,
Elizabeth Walker Lane, Dr. Joseph Bein 1948-52; Ohio U, D. W. Inger-
ham. 1952-53, Sum 1956,-58; Northwestern U, Sum 1959,-60,-61; Ohio
State U, 1961-62, Sum 1963,-64,-65; Ph.D. degree. Va Toledo Symp 1955-
57; Concertmaster Springfield (MO) Symp 1962-67; Central Misssouri State
U Q, Trio 1967-. Tch Public Schools Strings, Celina, Bellevue, OH 1955-
61; Drury Coll, Springfield, MO 1962-67; Prof of Mus,

HALGEDAHL, FREDERICK, b 1947, Rochester, NY. Stud: Eastman
Sch Mus 1965-69. Tch Va U of Oklahoma/Norman 1976-79; Western Wash¬
ington U/Bellingham 1983-86; U of Northern Iowa/Cedar Falls 1987-. Va
Tone Judge 8th Int’l Compt Violinmaking, Vn Soc Am 1988. O&P Hans
Nebel #424, Mittenwald, 1950.

HARDIE, JULIA OBRECHT, b 1949, Iowa City, Iowa. Stud: U Iowa,
B.M. 1971, M.M. 1978, D.M.A. (Dissertation: Current Trends in SuzukiVa

390

The History of the Viola

Pedagogy) 1987, William Preucil; Insti Advanced Mus Stud, Montreux,
Switz, Paul Doktor, Bruno Giuranna, 1973-75. Pr Va: Las Cruces Symp, El
Paso Pro Musica 1978-81; Waco Symp 1981- Prof Va: New Mexico St U
1978-81, Baylor U 1981- Dir Baylor U Suzuki Sch 1981-. O&P Jago
Patrenello, 1922.

HAWKINS, BRIAN, b 1936. Stud: Sydney Errington and Cecil
Aronowitz. Edinburgh Q, Gagliano Trio, London Virtuosi, Concertaine Ens,
Nash Ens, Oromonic Piano Q. Tch RCM.

HEINITZ DE VEILL, HILDE, (?-?). See Chapter XII, “A Brief His¬
tory of the Viola in Argentina. ”

HENNEMAN, IG, b 1945, Haarlem, Holland. Stud: Cons Amsterdam,
Tilbury, Louis Metz, Erwin Schiffer, 1972-78. Pf Ig Henneman Kwintet, a
jazz ens of va, alto sax, elec guitar contrabass, & percussion, plays impro¬
vised mus using comp and ideas of Ig Henneman. This ens featured in a cone
at “The Viola in My Life Week”, Amsterdam, 1986.

HERMANEK, MILAN (1942-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

HEROLD, JIRI (1875-1934). See Chapter XVII, “The Czechoslovakia
Viola School.”

HOFFMAN, MILES. Va, Found, Artistic Dir: Library of Congress
Summer Chmb Fest and American Chmb Players 1982-.

HOFFMAN, TOBY (add to Vol I) Juilliard Sch, B.M., M.M. Przs at:
Tertis Int i Va Compt, William Kapell Compt, Buffalo Philh Compt, 2 Juil¬
liard Compts. Prem Pf, Joel Hoffman Concerto for Va, Cello &- Orch. Pf
opening day at recently renovated Weill Rctl Hall of Carnegie Hall. Invited
by Salvatore Accardo, pf regularly at Settimane Musicali Int’l d’Napoli and
Fest of Cremona, Italy. Tch & Pf Moon Beach Fest, Okinawa. Guest Pf:
Tokyo Chmb Soloists; Stichting Reizend Musiekgezelschap, Holland; Lin¬
coln Center Chmb Mus Soc; Kennedy Center Theater Chmb Plas; Boston
Chmb Mus Soc, Barge Mus; Musica Camerit; Cincinnati Linton Series, Sea
Cliff Chmb Plas; Mostly Music; and others. Pf many radio stations incl
WQXR, WNCN, WNYC. Record: Philips, Dynamic, Marlboro. O&P Broth¬
ers Amati, 1628.

HOLLAND, DAVID, b 1942, Toledo, Ohio. Stud: Father, Kenneth
Holland; Indiana U, B.M., Urico Rossi, Joseph Gingold, David Dawson

Biographies of Violists

391

1960-66; Ohio U, M.M., Sheldon Sanov, Kenneth Holland 1966-69. Pr Va
& Solo Duluth Symp and Chmb Orchs ( Harold in Italy, Flos Campi, Sym¬
phonic Concertante, etc) 1970-74. Interlochen Arts Acad Q 1974-. Prem Pf
works by Kenneth Holland (father) Sonata for Va & Pno, John Holland, Pno
(brother); Adagio and Allegro for Harp ir Va, Joan Holland, Harp (wife).
Ded Rctl at openings of Fine Arts Centers: U of Wisconsin/Superior Holden
Center; South Dakota State U Recital Hall. Teh Va & Chmb Mus: Ohio U
1969; Coll St. Scholastica, U of Wisconsin/Superior 1970-74; Interlochen
Arts Acad 1974-; Visiting Va Teh: U of Iowa, Louisiana State U; Ithaca Coll;
Southern Methodist U. O&P Karl Horlein (viola-alta) Herman Ritter model,
c.1880, 47 cm., 18 1/2 in.

HOOGLAND, OSCAR, b The Netherlands. Studied a year with
William Primrose as Teaching Fellow at Indiana Univ. 4 yrs Netherlands
Chmb Orch, Symon Goldberg, cond; 1 yr American Symp, Leopold
Stokowski, cond. Pr Va, Solisti Veneti, classical and comtemp repertoire, &
tch Academia Musicale Chigiana. Found mbr & Va, Orch of the 18th Cen¬
tury (Amsterdam). Prem Pf: Fernand Grillo Der Seele Erdergang for Solo Va
(requires scordatura tuning, described in Chapter “Scordatura for the Vi¬
ola”), final cone, “Viola Week, The Viola in My Life”, 1986, Amsterdam;
L Angelo Musicante (Music Making Angel); Klingen (To Sound). Avram
David, Boston comp, Movement for Va Alone. O&P Joseph Albani (1680-
1722) for Baroque period; Gagliano for Mozart, Beethoven period; Max
Moller, Amsterdam, 1948, & Matthias Dahl (1888-1973) of Norway & Min¬
nesota, for comtemporary music.

HORAK, JAROSLAV (1914-). See Chapter XVII, “The Czechoslovakia
Viola School.”

HORNER, JERRY (Add to Vol I). Stud: Indiana U, B.M., M.M., Pf
Certif. 1st Va to pf solo or chmb mus at Kennedy Center, 2 world prem at
Library of Congress.

HORSTHUIS, MAURICE, b 1948, Breda, Holland. Violist, Com¬
poser, Electronic Music. Stud: Brabands Cons, Tilburg, Holland, Edwin
Schiffer, 1975-79; Sonology Insti (Electronic Mus, U Utrecht, 1979. Mbr
I.C.P. Orch, Amsterdam 1982-; Maurice Horsthuis Q 1981-82; Boy Edgar
Sound 1972-; Maarten Altena Q, 1983-; Amsterdam Electric Circus, 1974-;
Amsterdam Str Trio with Ernst Glerum, Ernst Reyseger, playing comp by
Horsthuis, who often plays and improvises on electronic viola. Musical play
Violen-Paultje. Composer & Pf Footsbarn Travelling Theatre, Footie Tunes,
1987-; Kaspar, Moby Dick, Leedvermaak, Figaro's Devorce, Mother Cour¬
age, The Would-be Gentleman, and other theater plays; and chmbr mus.

392

The History of the Viola

Record chmb mus on Claxon, Dater, ICP, NATO labels. O&P Max Moller,
Amsterdam, 1946.

HOVAT, LASLO (1934-). See Chapter XVI, “The Viola in Yugoslavia.”

HOWES, ROBERT, b 1951, Detroit, Michigan. Va and research
scholar. Stud: Priv: Nathan Gordon 1962-73, Francis Bundra 1967, 1972;
Wayne State U, B.A./Mus 1969-73; Northwestern U M.M./Cond 1983-84.
Va Cincinnati Symp Orch 1973-; Pr Va, Cincinnati Chmb Orch 1974-77,
1979-87. Author of: Annotated bibliography, Original Works for One Viola
from the Late Romantic Period, c. 1895-1905, 1989. Article, “Leon Firket’s
Concertstuck, ’Journal of the American Viola Society, August 1986. Author¬
ity on old American concert halls. O&P 2 vas by Roelof Weertman, Fal¬
mouth, Mass, 1971, 1973.

HRACEK, IGNAZ (IRENEUS HRACEK) (1722-1774). See Chapter
XVII, “The Czechoslovakia Viola School.”

HUEBNER, CHRISTOF, b 1963, Vienna, Austria. Stud: Vn, Va
Vienna Sch Mus & Dramatic Art; St. Louis, MO, Cons Mus, Michael Tree,
1985-87. 1st Prz Concerto Compt Vienna Sch Music, 1984; also St. Louis
Cons, 1987. Featured in St. Louis Opera-Theater production Curlew River,
Benjamin Britten. Va Vienna Chmb Orch, cond Philippe Entremone, 1983-
85. Duo Rctl, Stephen Lord, pno, at & sponsored by Austrian Institute,
NYC, 1988; pf Marlboro, Wiener Konzerthaus, Styria, St. Louis, Taos.

HULS, MONIKA, b 1951 Oldenburg, Gr. Stud; Vn F. v Hansegger,
Hannover Musikhochschule -1974; VA Hirofumi Fukai, Hamburg
Musikhochschule 1974-5, Serge Collot Paris Cons 1975-7. Hannover North
Ger Radio Orch 1975-; Joachim Q 1978-, Winners of Ger Nat l Mus Compt,
Bonn 1978, Ger Record Critics Award Borodin Qs 1979, Bernhard-
Sprengel-Price Ger Industrial Management Prz 1986. Q Concerts world¬
wide. Records: Mozart KV 421 and KV 575; Kreisler Str Q in a minor; Josef
Joachim Str Q in one Moot; Haydn Op 64.5 and Op 75.3. O&P Paolo
Maggini, 1620.

HYKSA, ANTONIN (1905-). See Chapter XVII, “The Czechoslovakia
Viola School.

IMAI, NOBUKO, b Japan. Stud: Tokyo Toho Sch Mus; Yale U; Juilliard
Mus Sch, Walter Trampler. Przs: Hudson Valley Philh, Geneva, Munich
Int’l Va Compts. Soloist worldwide with London Symp Orch, Royal Philh
Orch, London Sinfonietta, London Mozart Players, BBC Orch, Montreal

Biographies of Violists

393

Symp, Boston Symp, Minnesota Orch, Detroit Symp, Chicago Symp, Suisse
Romande, Vienna Philh, Concertgebouw, Stockholm Phih, German Radio
Orch, Spanish Nat’l. Prem Pf Michael Tippett Triple Concerto, London
Symp Orch, Cond Colin Davis, Record Philips 1983; Thea Musgrave
Concerto, XI IVG Congress, Houston 1983. Pf at Fest Marlboro, South
Bank, Bath, Casals, Cheltenham, Aldeburgh, London Promenade, Aspen,
Gidon Kremer’s Fest Lockenhaus, Austria. Tch: Royal No Eng Coll Mus,
Hague Royal Cons, Utrecht Cons, Detmold Cons, Northern Illinois U.

IOTTI, OSCAR RAOUL b 1913, Modena, Italy; d 1986, Tucson, Ari¬
zona. Stud: Master Vn, Liceo Musicale “Orazio Vecchi” Modena, Italy 1933,
and “G.B. Martini’’ Bologna, It 1934; Master Va, Cons “Claudio Mon¬
teverdi’’ Bolzano, It 1940; M.Ed. U of Panama 1966; M.S./Mus Kansas State
U 1967; M.S. /Ed Arizona U/Tucson 1975. Soloist, Chmb Mus, Orch Europe
1933-40; Radio Caracas, Venezuela 1947. Saint-Malo Q, Panama 1948-50.
Vn/Va Prof: Modena Italy; Nat’l Cons Mus, Panama; Maracaibo, Edo. Zulia,
Venezuela; U Los Andes, U Merida, Edo. Merida, Venezuela; Asst Prof
Marymount Coll, Salina, Kansas; Prof Vn/Va, U Arizona 1967-78; Emeritus
Prof Mus, Arizona U 1978. Research ethnomusicology, folkloric San Bias
Indians, Panama 1971-72. Pr Va Tucson Symp; Arizona Opera Orch 1967-
78; San Remo Symp Orch, Italy. Prem/Ded Gyula Bando Musica para la
Viola, Italy and Venezuela. Author of methods, books, articles. Award: Gold
Key of the order “Master Key of the Panama Canal Locks’’ by Governor of
Panama Canal Zone & Panama Canal Company 1967; Gold Medal, Assoc
Musicisti, Modena 1972. Also see Chapter XV, “Italian Violists.”

IRVINE, JEFFREY, b 1953, Cleveland, Ohio. Stud: Aspen Fest, Sum
1979,1980; Philadelphia Mus Acad, B.M., Heidi Castleman 1972-75; East¬
man Sch Mus, M.M., Martha Strongen Katz 1976-77; William Primrose,
Banff 1974; Dorothy DeLay, Margaret Randall, Donald Weilerstein. 1st Prz
Aspen Fest Va Compt 1979. Pr Va Wichita Symp 1977-81; Co-Pr Va Pitts¬
burgh Ballet Orch, Opera Orch, New Pittsburgh Chmb Orch, 1981-83.
Monet Trio 1978-81; Wichita State U Q. Prem Pf Daniel Asia Orange 1983.
Many Solo & Chmb Mus Rctls Midwest USA. Tch Va Wichita State U 1977-
81; Aspen Fest 198 1-; Visit Prof Va, Eastman Sch Mus 1984-85; Assoc Prof
Va, Oberlin Cons 1983-; Master Classes: Beijing, Shanghai, Winter 1985-
86; U Michigan, Baldwin-Wallace Coll; Eastman Sch Mus. Articles: “The
Use of Biofeedback to Reduce Left-Hand Tension for String Players,” Amer¬
ican String Teacher. Summer 1981; “In Vivo EMG Biofeedback in Vn and
Va Pedagogy,” Biofeedback and Self -regulation, Vol. 9, No. 2, 1984. O&P
Storioni, ex-Martha Katz, date unknown.

394

The History of the Viola

ISOMURA, KAZUHIDE. Found Mbr of Tokyo Q, which won 1st Przs:
Munich Compt, Coleman Auditions, Young Artist’s Int’l Auditions. Tours
world wide. Fac Yale U Sch Mus. Pf Solo Rctl XIV IVG Congress, Ann
Arbor, 1987. CMSU 1967-. Rctls & Chmb Mus. Comp Suite for Va i? Vn.
O&P Leo Aschauer, 1955.

ISPAS, JOSEF b 1955 Mainz. Stud: Vn Lukas David, Sanchko
Gawriloff. VA Hans Kohlhase, Mstclass Ulrich Koch, Jerzy Kosmala. Pr Va
Lubeck Hausestadt Orch 1981-. Cone: solo, trio, and Q. O&P S. Nemes-
sanyi, 1874.

IVANOVIC, PETER (1940-). See Chapter XVI, “The Viola in Yugo¬
slavia. ”

JACKS, W. LAWRENCE, b 1951, Melbourne, Australia. Stud: John
Gould, Sydney, 1970-72. Va, TUTTI Western Austr Symp, 1972-73; Pr Va,
Tasmanian Symp, 1974-77; Assoc Pr Va, 1978-81, Pr Va, 1981-, (only the
3rd Pr Va in 100 year history) Melbourne Symp; also London Symp Orch &
Bournemouth Symp. Prem Pf, Austr: Malcolm Williamson Partita for Solo
Va, Based on Themes of William Walton; Record: Barry McKimm, Andante
Tranquillo for Va ir Orch, Melbourne Symp. cond. Richard Divall. Mbr
Melbourne Symp Orch Board; Found Chm Melbourn Symp Orch Players
Touring Fund. O&P (uncertified) Landolphi (ex-Harry Danks BBC, ex-John
Gould LSO), 1767.

JACOBS, EVELYN LUISE, b 1939, Philadelphia, Pa. Stud: New Sch
Mus 1956-61 and Curtis Insti Mus 1961-65, Max Aronoff. Princeton Chmb
Orch 1965-67; Amado Q 1962-; Craftsbury, VT, Chmb Players Sum 1967-;
Pr Va Bethlehem Bach Fest 1980-, Philadelphia Opera Co 1980-; American
Soc Ancient Instrs, viola d’amore, 1965-1986. Instructor New Sch Mus
1965-85; Asst Prof Va, Temple U 1987-. O&P William Moennig, 1943.

JAMES, MARY E. (Change from Vol. I) b 1927, Long Beach, CA.
Stud: San Francisco Cons Mus, B.M. 1956; U So. Calif, William Primrose,
Philip Burton, Sanford Schonbach, Milton Thomas; Lionel Tertis; State Acad
of Mus, Vienna, Austria, dipl, 1954, Ernest Morawec; Pittsburg St U, M.M.
1975. Va: Portland, Oregon, Symp, 1947-49; Mills Coll, Berkeley Q, Con¬
certs with Darius Milhaud, Leon Kirchner, 1949-52, 1954-63; Vienna Bach
Gemeinde, Konzerthaus Kammerorchester, 1952-54; San Francisco Symp
& Opera 1956-63; Los Angeles Philh, 1963-64; Minnhenick Chmb Players,
1964-68; Columbia Record Orch, Stravinsky, cond. Fac Va, San Francisco
Cons Mus; Prof Mus, Pittsburg St U, Kansas 1968-; Pittsburg Q, 1985-;
Fac, Chmb Mus Conf & Comp Forum of East, Bennington, Vermont,

Biographies of Violists

395

1972-. Active in Am Va d’Amore Soc, host to Int’l Va d’Amore Congress,
Pittsburg, KS, 1987. O&P Antonio Mariani, Pesaro, It., 1660.

JAMIESON, NANNIE (Also see Vol I) d 1989. Awarded MBE 1982;
The American Award of Leadership and Service to Mus 1983; The Inti
Award in Leadership and Service to Mus 1984. O&P Petrus Paulus DeVitor,
Mantua, 1735.

JENC, VACLAV (1905-). See Chapter XVII, “The Czechoslovakia Vi¬
ola School.”

JEWEL, IAN, b 1944, Ilford, Essex, Eng. Stud: RCM London, Cecil
Aronowitz, 1962-66; Sienna, It, Bruno Guiranna; London: Orrea Pernel,
Max Rostal. Gabrieli Q 1967-. Prof Va: RCM, Northern, 1981-85; Guildhall
Sch Mus 1984-87; RAM London 1984-. Pf Edmund Rubbra Va Concerto,
Composer s 75th Birthday; Brahms E k Sonata, BBC, Gabreli Brahms Se¬
ries. Record: Brahms Songs with Bernadette Greevy and Paul Hambarger
(Claddagh Records, Dublin). O&P Maggini, Brescia, c. 1590; Gimpel So¬
lomon, Eng, 1983.

JI § A, JAN (1957-). See Chapter XVII, “The Czechoslovakia Viola
School. ”

JONASSON, INGVAR, b 1927, Isaflordur, Iceland. Stud: Reykjavik
Cons, Vn Bjorn Olafsson, 1944-50; RCM, London, Henry Holst, 1950-53;
Priv Ernst Morawec, Vienna, 1955-57; Indiana U, David Dawson, 1964-
67. Va Iceland Symp Orch, 1953-55, 1957-72; Reykjavik Cons Q, Co-found
Musica Nova 1957-72. Pr Va Malmo, Sweden, Symp Orch 1972-75, Malmo
Chmb Orch, Malmo Quintet; sub-leader Va Royal Court Orch, Royal Opera
Orch, Stockholm 1981-; Maros Ens, Stockholm. Tch Vn, Va, Chmb Mus,
Reykjavik Cons 1957-72; Malmo Cons, Gothenburg Cons 1975-80. Prem Pf
in Malmo: Va Concertos by G. Bacewicz, Bela Bartok, W. Walton, Stamitz,
Handel, J.C. Bach, Lyric Movement by G. Holst, Fantasy by Hummel,
Symphonie Concertante by Mozart. Prem Pf & Ded: Thorkell Sigurb-
jornsson Six Icelandic Folksongs for Va & Pno; Haflidi Hallagrimsson Duo
for Va & Cello; Atli Heimir Sveinsson, Exploration; Catexis for Va Pno,
Melodia for Solo-Va ; Jonas Tomasson Va Concerto, Notturno III for Va ir
Cembalo, Melody for Solo-Va; Haukur Tomasson Birting for Solo-Va; Jon
Nordal Tvisongur for Vn, Va, & Orch.

JURIK, JAN. See Chapter XVII. “The Czechoslovakia Viola School.”

396

The History of the Viola

KAHLSON, ERIK, b 1907, Helsinki, Finland, reared in Goteborg,
Sweden; d 1987, Cincinnati, OH. Stud: Vn, father Gustaf, and Emil Hansen;
Berlin Hochschule Mus, Erna Fourness; Cleveland Insti Mus, Carlton
Cooley, 1926-27. Assoc Pr Va Cleveland Orch 1927-37; Pr Va, Soloist,
Cincinnati Symp Orch 1937-73. Found/Cond Lexington, KY, Symp Orch
1957-61. Rctls & Chmb Mus. Tch U of Cincinnati Coil-Cons Mus 1938-74.

KALIWODA, JAN (1801-1866). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

KARLOVSKY, JAROSLAV (1925-). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

KASHKASHIAN, KIM, b 1952 Detroit, Michigan. Stud: Peabody
Cons, Walter Trampler 1969-70, Karen Tuttle 1970-73. 2nd Prz Tertis Int i
Va Compt, Isle of Man, 1980. Comm & Prem Pf: Meyer Kupferman Beauty
and the Beast, Sound Phantoms; Alvin Brehm Tre Canzone. N.A. Prem Pf:
K. Penderecki Va Concerto, Minneapolis; W. Ger, Alfred Schnitke Va
Concerto, Saarbrucken; Barbara Kolb Related Characters. Prof Va: New Sch
Mus Phila 1981-86, Mannes Coll Mus 1984-86; Indiana U 1986-87.

KASS, PHILIP, b 1954, New York City. Stud: Stud Vn, Va: Union Coll
1972-74; U of Pennsylvania 1974-76. Associate with William Moennig &
Son, LTD 1977-. Editor “Viola Forum” American Str Tchrs Assoc Journal
1985-87. Mbr Violin Soc of America 1975-, Board Mbr 1975-, Editorial
Board 1976-, Vice Pres 1985-. Articles on str instru in Smithsonian; V.S.A.
Journal; World of Strings, Grove’s Dictionary of Mus Instru, A.S.T.A. Jour¬
nal.

KATIMS, MILTON, b 1910, New York City. Stud Columbia U, Vn
Herbert Dittler, B. A. 1932. Switch to Va guided by Leon Barzin. Asst Cond
Mutual Broadcasting Co. 1935-. 2nd Va Budapest Q for Quintets by Mozart,
Beethoven, Dvorak, etc. 1940-. Pr Va/Staff Cond/Assist to Toscanini 1943-
54; Guest Cond NBC Symp more than 50 times (the most of any guest). Mus
Dir/Cond Seattle Symp 1954-76. Va/Guest Cond Polish Chmb Orch (Car¬
ibbean Mus Cruise) with James Galway, Maurice Andre 1986. New York
Pno Q (Alex Schneider, Frank Miller, M. Horszowski, record all of Brahms,
Faure, Copland, etc. Pf with Elman, Heifetz, Milstein, Morini, Stern,
Szerying, Zukerman: Mozart Concertante and other works. Pf and record
with Casals, Prades and Puerto Rico, along with Myra Hess, Szigeti,
Tottelier, and with Stern, Schneider, Horszowski. Pre Pf many works by
Bax, Bloch, Gould, Hindemith, Rolla, Ruygrok, Serly, Steiner, Tchember-
dehy, and Turina. Fac Juilliard 1946-54; Artistic Dir/Dean Houston U Sch

Biographies of Violists

397

Mus 1976-84; Guest Cond/ Master Classes /Honorary Prof Shanghai Cons
Mus 1985; Distinguished Visiting Artist/Tch U Washington Sch Mus 1984-;
Guest Cond many of world’s great symp. Ed and Arr over 25 works for Va
(I.M.C. pub) incl Bach Gamba Sonatas (record VOX, with Bela Siki, pno,
1988); Beethoven 7 Variations on Mozart Theme (orig. cello); Brahms Sonata
in e minor (orig. cello); Chopin Sonata (orig. cello); Reger Three Solo Suites );
Saint-Saens The Swan (orig. cello); Schumann Sonata No. 1; Stamitz
Concerto in D (with cadenza). Distinguished Service Award, A.S.T.A. 1988.
Host/Chrp/Pf/Lect/Cond XI IVG Congress, Houston, 1983. O&P Testori,
1721, 41.6 cm. (16 3/8 in.).

KATZ, MARTHA STRONGIN (Also see Vol I.) On Fac, Eastman Sch of
Mus-. Rctl XVII Int’l Va Congress, Redlands, CA, 1989.

KAUFMAN, LOUIS, b 1905, Portland, Oregon. Stud: Institute of
Musical Art, NYC 1918-26, graduated highest honors, Loeb $1000 Prz
1927; Naumburg Award 1928. He and his wife, Annette, a concert pianist,
were awarded Honorary Doctorates, Oberlin Coll 1985. Va Found mbr
Musical Art Q 1928-33, succeeded by Louis Kievman; Pf Vn Mozart Duo
Concertante with F. Molnar on Va, Los Angeles Philh, Honolulu Symp,
Inglewood Symp; Pf Mozart Trio with Molnar and Lazio. Concertmaster of
studio orchs in all movie studios 1934-48; as Concertmaster played his
Grand Pere Va in Franz Waxman film score for “Sayonara” to give a more
“exotic” sound to the solos. Favorite Va “Lord McDonald” Antonio
Stradivari, loaned to Musical Art Q by the Warburg family. For more about
early recording and film music see Edison, Musicians, and the Phonograph,
Greenwood Press, NYC, pp. 109-130.

KELLA, JOHN JACOB, b 1948, Honolulu, Hawaii. Stud: Va Pf: As¬
pen, Lillian Fuchs, Walter Trampler 1968; Meadowmount, Dorothy DeLay
1969; Sarasota FL Mus Fest, Lillian Fuchs 1970; Juilliard, B.M., M.M.,
William Lincer, Walter Trampler, Chmb Mus Robert Mann, Joel Krosnick
1970-75; New York U, Ph.D., 1984, mus curriculum development; New
York U, Post-Ph.D., neuropsychology of human stress 1984-85. Va Hartford
Symp Orch 1966-70; Nat’l Orch Assoc 1970-71; Empire Sinfonietta 1971-
72; Orpheus Chmb Orch 1973; Juilliard Chmb Tour Orch 1973; Light Fan¬
tastic Players 1974-75; Arcadia Chmb Players 1975-76; American Symp
Orch 1976-78; American Ballet Theater Orch, NYC 1976-; Metropolitan
Opera Orch NYC 1980-. Pr Va New York State Theater-Lincoln Center
Ballet and Opera Pf 1978-79. Riverside Q; Parnassus Q (Mid-East Tour).
Ph.D. Dissertation Vol. I “Historical Survey of Vn & Va Educational Liter¬
ature 16th through 20th C.” Vol II “Development and Qualitative Evalua¬
tion of a Mus Curriculum for Va.” Vol. Ill “A Review of Teaching Concepts

398

The History of the Viola

of William Lincer, Prof of Va at the Juilliard Sch.’’ Tch Juilliard 1982-83;
Adjunct Assist Prof Mus, NYU 198 1-. Research Coordinator, Miller Health
Care Insti for Pf Artists, St. Luke’s-Roosevelt Hospital, 1986-; Boards: Cen¬
ter for Safety in the Arts, Musicians Assistance Program, 1986-, and Found
Mbr of Pf Arts Assoc for Better Health 1985-. Co-Dir: 1st Int’l Conference
on Mind, Body, and the Performing Arts: Stress Processes in the Psychology
and Physiology of Music, Dance, and Drama 1985.” Numerous Confer¬
ences, TV shows, lectures related to health problems and physical injuries of
pf artists. Author, “A Musician’s Guide to Performing Arts Medicine,” and
other pertinent articles in The International Musician, and in other period¬
icals. Lect XIX IVG Cong, Ithaca, NY 1991.

KIEVMAN, LOUIS, b 1910 Naugatuck, Connecticut; d Los Angeles,
Dec. 4, 1990. Stud: Juilliard Sch of Mus, Franz Kneisel, Sascha Jacobsen,
D.C. Dounis. Va Musical Art Q 1931-37 (found mbr); Styvesant Q 1937-42;
Sosson-Kievmnan-Posella Trio 1949-59. Va (at founding) NBC Symphony
(Toscanini) 1937-42, Westwood Musical Artists 1960-65. Fac Westwood
Music Centre 1949-59; Calif Insti of Arts 1959-64; Calif St U Long Beach
1973-; Calif St U Northridge 1978-; Immaculate Heart Coll of Los Angeles
1977-. Prominent in Calif str activities as Clinician, Lect and Pres of Los
Angeles Chapter of A.S.T.A., Editor of “Viola Forum” of American String
Teacher magazine (1972-78). Author of several widely used str methods.
Active studio Va in movies and TV. Wrote regularly for The Str ad. Record
for Victor and Columbia. Cond Mstr els USA, Europe, Eng, Tertis Int’l Va
Compt and Wkshp, Isle of Man 1984, 1988. Lect Rctl XV IVG Congress,
Ann Arbor, 1987; Planning Committee, XVII IVG Congress, Redlands, CA,
1989. A.S.T.A. “Citation for Exceptional Leadership and Service to the
World of Strings,” 1987. Owned fine collection of French bows. O&P small
beautifully ornamented Gasparo da Salo viola (see Volume I).

KLABIK, BOHUMIL (1905-64). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

KLATZ, HAROLD, b 1914 (Also see Vol. I). Secretary AVS, in charge
of advertising AVS Newsletter 1961-65.

KLEMMSTEIN, EBERHARD (See Vol. I).

KLINGMULLER, VOLKER b 1909 Kiel, Gr. Stud: Va G. Winter,
Kiel; R. Oppel, Kiel and Leipzig; K.A. Herrmann, Frankfurt/Main; Chmb
Mus Kloster Geras, Austria, Haus Brandi-Stross, Rottach-Egern, E Gr.
Amateur Va with all chmb groups. Dipl.Chem., Prof. Dr. Med., Dr.
Rer.Nat., Univ. Heidelberg; Biochemical and medical research and teach-

Biographies of Violists

399

ing; Physiological observations on string playing. Very prominent in support
ofIVG.

KLOP, STEPAN. See Chapter XVII, “The Czechoslovakia Viola
School.”

KLOS, WOLFGANG, b 1953, Vienna, Austria. Stud: Vienna Federal
U Mus (Musikhochschule), Hatto Beyerle, 1969-77, Diploma with Honors,
Award winner: Austrian for Junior Mus, 1973; Austrian Ministry Cultural
Affairs, 1977; also Max Rostal, Ulrich Koch. Pr Va, Int’l Jeunesse Musicale
World Orch, cond L. Bernstein. Va Vienna Symp Orch, 1976-77; Pr Va:
Zurich Tonhalle Orch, 1977-81; Vienna Symp Orch, 1981-; Va: Camerata
Academica Vienna, Vivaldi Players Zurich, Masterplayers Zug, New Zurich
Q, Vienna Nonet, 1975-81; Vienna Str Trio (Jan Pospischal, vn, Wilfried
Rehm, cello), 198 1-. Prof Va: Vorarlberg State Cons Mus, 1977-; Ass t Prof
Vienna Fed U Mus, 1985-; Masterclasses Austria, Germany, Switzerland,
Liechtenstein, Brazil. Debut 1964 Vienna Konzerthaus. Va concerts widely
in Europe; worldwide with Vienna Str Trio. Prem pf & Ded with Trio works
by Rapf, Eder, Stark, Von Einem, Krenek, et. al. Many records with Trio.
O&P Alessandro Messadri, 1725; G.B. Ceruti, 1780.

KLUSON, JOSEF (1953-). See Chapter XVII, “The Czechoslovakia
Viola School.”

KNECHTEL, A. BAIRD, b 1937, Hanover, Ontario, Canada. Stud: Vn
with father; L. Dunelyk; E. Oscapella; Royal Cons Mus/Toronto, John
Moskalyk 1985-59, David Mankovitz 1961-64; Eastman Sch Mus, Francis
Tursi, Sum 1966-70. Free lance Va, CBC, Radio, TV, Record I960-. Pr Va
Hamilton Philh 1967-68. Rotating Pr Va Toronto Chmb Players 1968-77; Va
Canadian Opera Co 1977, 78; Solo rctls Rochester, NY; Toronto; Interpro¬
vincial Mus Camp Cone. Tch instru mus Islington, Ontario public sch. Ded:
Michael Pepa Sonata for Solo Va, (Prem Pf, Ulrich von Wrochem, IX IVG
Va Congress, Toronto 1981). Comm 2 works for IX Va Congress 1981: God¬
frey Ridout Ballade No. 2 for Va and Strings (Prem Pf Ralph Aldrich); Saul
Irving Glick Concerto for Va and Strings (Prem Pf Rivka Golani). AVS
“Citation”, XIII IVG Congress, Boston, 1985. Found/Pres Canadian Va Soc
& Ed CVS Newsletter 1979-. O&P George Heinl, 1954.

KOCH, ULRICH b 1921 Braunschweig, Ger. Stud: Hans Michaelis,
Berlin 1936-8; Jon Voiku, Berlin 1938-41; Aug. Heinrich Bruinier, Braun¬
schweig 1945-8. Va Braunschweig Staatstheater 1945-8; Pr Va Baden-
Baden Sudwestfunk-Sinfonie-orchester 1949-; Prof Va Freiburg Staatlichen
Hochschule fur Musik 1957-; Tchs regulary Musachino Academia Musicae

400

The History of the Viola

Tokyo, Salzburg, Siena, Perugia, Assisi, Basel, etc. Bruinier Q Braun¬
schweig 1945-9; Pr Va Cappella Coloniensis, West Ger Radio Baroque Orch
1950-. Prem Pf: Matyas Seiber, Elegy, Donaueschingen 1953; Karel Husa,
Poem, IGNM-Musikfest Koln 1955. Records: Bartok Concerto (Dir Laszlo
Somody); Milhaud 1st Via Concerto (Dir Milhaud); Jean Francaix Rhapsodie
(Dir J. Francaix); R. Strauss Don Quixote (Cello Rostropowitsch, Dir H. von
Karajan, Berlin Philh Orch); Hindemith Kammermusik No.s 5 and 6 for Va
and Va d’Amore und Orch; Mozart Sinfonia Concertante (Dir Kortez); Bach
6th (Cello-) Suite for Viola Pomposa; Paganini Sonata for the Grand Viola.
Jury 3eme Maurice Vieux Compt, Orleans, 1989. Among his many outstand¬
ing students: Hermann Voss, Hatto Beyerle, Wolfram Christ, Tomoko
Kawazu-Shirao, Makiko Kawahito, Tabea Zimmermann. O&P Alfred
Leicht, Berlin, 1950.

KOCVARA, FRANTISEK (d. 1791). See Chapter XVII, “The Czecho¬
slovakia

KOD’OUSEK, JOSEF (1923-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

KOKICH, JAN, b 1947, Whangarei, New Zealand. Stud: Auckland
Cons Mus, Executant Diploma Mus; Auckland U, Vn, Va, Michael Wieck,
Winnefred Stiles; Private: Bruno Giuranna (Rome, Sienna); Profs Berey and
Stierhof (Vienna); Eric Sichermann (Hamburg); Paul Doktor, NYC; master
classes, Ulrich Koch, Serge Collot. Co-Pr Va, I Solisti Aquilani, Rome. Va,
1969-87: Wiener Volksoper, N.O. Tonkuenstler Orch, Vienna; Musik-
kolegium Orch, Winterthur, Switz; Philh Orch, Kiel; Opern-und Museum
Orch, Frankfurt; Nat’ltheater Orch, Mannheim; Saarlandischer Runkfunk
Sinfonie Orch; NDR Radio Orch, Hamburg, tour Europe & Japan; Holland
Radio, Amsterdam; Radio WABE, Atlanta, GA, USA. Pr Va: Orchesterge-
sellschaft, Biel, Switz, 1971-72; Stadt Orch, Hagen 1975-82; Orch Beethov-
enhalle, Bonn, 1987. Kokich Trio; Kokich Q; Dickermann Q. Rctls with
wife, Valerie Girard, soprano.

KOLPITCKE, JOHN H., b 1934, Escanaba, Michigan. Stud: U Wis¬
consin/Madison, Bernard Milofsky, B.M. 1953-57, Richard Blum, M.M.
1960-65; U Michigan, Robert Courte, D.M.A.; 1970-73. Va: Civic Orchs:
Madison, Manitowoc, Green Bay Wise; Rochester, Austin, Minn; Mar¬
quette, Mich; Savannah, Ga; Roswell, N Mex; Lubbock, Tx, Mansfield,
Ohio. 7th USArmy Symp Orch, Europe 1957-59. Tch Public Schools: Mari¬
nette, Wise 1959-64; Albert Lea, Minn 1964-67; Asst Prof Str U Wisc/River
Falls 1967-68; Asst Prof Va Northern Mich U 1968-70; Assoc Prof Str/Cond
Orch Georgia Southern Coll 1973-85; Assoc Prof Va,/Vn/Cond Orch East-

Biographies of Violists

401

ern New Mexico U 1985-87; Prof Str/Cond Southeastern Ohio Symp Orch,
Muskingum Coll 1987-. O&P Amedee Dieudonne, 1950.

KONDAKS, STEPHEN (Also see Vol. I) Retired 1988. O&P Gasparo
da Salo, c. 1560.

KOPERNICKY, KAROL. See Chapter XVII, “The Czechoslovakia Vi¬
ola School.”

KORDA, MARION, b 1922, Portland, Maine. Music Librarian and
Prof Bibliography, U Louisville, Ky; as such instrumental in establishing,
1982, E. J. Wotowa Memorial Viola Collection, now numbers over 500 items
Va Mus, plus 50 record. Stud: Private, Vn David Fisher, Portland, ME
1932-40; Wolfe Wohlfinson, Cambridge, MA 1942-43; U of Louisville, KY,
Edwin Ideler, 1949-51; VA U Louisville, Virginia Schneider, 1947-48, and
sum; Paul Kling, sum 1954, 55; U of Maine B.A. 1943; Columbia U, M.S./
Library. Korda Trio with Anna Miller Korda, pno, and Anna Hyder (twin)
cello 1934-41; Va Louisville Orch 1947-. Tch Strings, Mus Therapy, Camp
Edwards, MA 1945. Active Mbr Mus Library Assoc, Int’l Assoc Mus Librar¬
ies, Am Va Soc. O&P Stefano Scarampella, Mantova, 1907.

KOSI, MILE (1944-). See Chapter XVI, “The Viola in Yugoslavia.”

KOSTECKA, VILEM (1912-). See Chapter XVII, “The Czechoslovakia
Viola School.”

KOSMALA, JERZY, (Also see Vol. I) Prof Va Louisiana State U 1984-;
Tch Va Nat’l Mus Camp, Interlochen, MI; Head Va Dept Batiquitos Fes
Mus, San Diego, CA; Arists-in-Residence Rome Fest 1982-; Int i Fes Mus
Bolzano, Italy 1988-. Prem Pf: Maurice Gardner Rhapsody for Va & Orch,
IVG Congress, Provo, Ut 1979; & Ded: Dino Constantinides Grecian
Variation for Va (? Str Orch, Krakow Chmb Orch 1987; -Impressions for
Va, Soprano, Pno; Gregg Smith Triptych for Va, Soprano, Pno, both IVG
Congress, Stuttgart 1982; Prem Pf, new orchestration D.H. Von Dittersdorff
Sinfonie Concertante for Va, Double Bass, 6- Orch with Gary Karr, bass,
Lima, OH. Orch, Joseph First cond 1988. Radio Record Bloch Suite,
Vaughn-Williams Flos Campi, Krakow Radio Symp, Poland 1988. Master
Classes Rctls: Hochschule fur Mus: Hamburg, Stuttgart, Cologne, Berlin,
Dusseldorf; RAM London; Rome, Italy, Fest; Acad Mus: Warsaw, Krakow,
Kotowice, Poland; Cons Mus: Innsbruck, Bern; Wrkshops: Lubec, Kassel;
throughout USA. Ed and Trans for Va & Pno: Stamitz Concerto #1 in D,
Concerto #2 in A; Locatelli Sonata inf; Wieniawski Legend; Szymanowski
Dance from “Harnasie” ; Malowski Sicilliano ir Rondo; Bacewicz Polish Ca -

402

The History of the Viola

price. In preparation: Bach Cello Suites, Double Concerto in dfor Va &- Vn;
Chopin Cello Sonata ; Szymanowski Vn Sonata.

KOVACS, ALAN (?-?). See Chapter XII, “A Brief History of the Viola
in Argentina. ”

KO VARIK, JOSEF VAN (1870-1951) b USA, stud Prague. Pr Va New
York Philh. See Chapter XVII, “The Czechoslovakia Viola School.”

KOZDERKA, RICHARD (1908-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

KRAL, JAN (1823-1912). See Chapter XVII, “The Czechoslovakia Vi¬
ola School.”

KRAMAROV, YURY (1929-82, Leningrad). Student of A. M. Sosin,
later succeeded him at Leningrad Cons. Outstanding Va soloist, mostly in
chmb mus. According to Madam Borissovsky, the best violist and tch in
Leningrad.

KRATOCHVIL, JIRI (1924-). See Chapter XVII, “The Czechoslovakia
Viola School.”

KRAYK, STEFAN, b 1914, Warsaw, Poland, now Citizen USA. Vn, Va,
actor, tch many successful Violists. Stud: Ecole Normale de Musique, Paris,
Diplome d’Execution, 1935, Licence de Concerts, 1936; Classes at Sor-
bonne, Paris; Mstr-cls Carl Flesch. Soloist with major orch: Brussels, War¬
saw, Philadelphia, Chicago, London, Paris, 1936-47. Founder, Concert-
master Santa Barbara Symp 1951-83. Tch: RAM, London, 1936-37; New
Sch Mus, Philadelphia, 1946-47; Prof Mus: Oberlin Cons Mus, 1947-50;
UC/Santa Barbara. 1950-78. First President California ASTA, 1950-56.
Paganini Q, 1960-65. Tch: Donald Mclnnes, Thomas Tatton. Now freelanc¬
ing as musician and actor.

KRUMLOVSKY, JAN (1716-1763). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

KUGEL, MIKHAIL, b 1946, Krakov. Stud: Leningrad Cons, Yuri
Kramarov. Prz, Budapest, 1975.

KUSSMAUL, JURGEN b 1944, Egenhausen, Gr. Stud: Julius Williem
Kussmaul, Mannheim Hochschule fur Musik. Pr Va Gurzenich Orch, Co¬
logne 1970-77; Lecturer Va Den Haag 1977-79; Prof Diisseldorf Robert

Biographies of Violists

403

Schumann Hochschule 1979 Leader Robert Schumann Chmb Orch. After
an accident, holds bow in left hand. O&P Giacomo Rivolta, 1826.

KRYSELAK, LADISLAV (1956-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

KYSKA, JOZEF (1943-). See Chapter XVII, “The Czechoslovakia Viola
School.”

LAFORGE, THEOPHILE, (See also Vol. I) b 1863, d. 1918. Stud:
CNSM-P, 1st Certif Merit 1884; Vn 1st Prz 1885. Vn: Opera Orch 1883, Pr
Va 1887-; Societe des Concerts; then 1st ProfVa, CNSM-P 1894-1918, studs:
Louis Bailly, Henri Casadesus, Pierre Monteux, Paul-Louis Neuberth, Mau¬
rice Vieux. Pub c. 1900 Urtext Ed 24 Etudes by Jacob Martinn. Ded: Max
Bruch, Romance, Op. 42, 1891; Georges Enesco, Concertpiece in F, 1906.

LAKATOS, ALEXANDER. See Chapter XVII, “The Czechoslovakia
Viola School.”

LAMA, LINA (?-). See Chapter XV, “Italian Violists.”

LANG, LUDWIG b 1929 Timisoara, Romania. Stud: Vn Timisoara Mus
Sch, Josef Brandeisz 1939-44, 1947-50, Adelaida Iancovici 1944-46, Va,
Jonel Geanta, U Bucharest 1950-52. St Exam for Va 1954. Va Timisoara
Opera Orch 1948-51, Bucharest Filar monica “Georges Enesco” 1967-77; Pr
Va Bucharest Sinfonie Orch 1951-67, Krefeld-Monengladbach Nieder-
rheinische Sinfoniker 1978-. Bucharest Q 1959-77; W Gr Q 1978-. Teh Va
High Sch Bucharest 1961-67. O&P Carlo Antonio Testore, 1760.

LAWRENCE, BRUCE, b 1932, Sydney, Australia. Stud: Sydney Cons,
Ian Ritchie, 1949-51; RCM-London, Cecil Aronowitz, (composition-
Bernard Stevens), 1952-56. Va: Tasmanian Orch, 1957-58; Sydney Symp
Orch, 1959; DelticTrio, 1970-74. Tch: NSW Dept. Educ, 1960-66; Deputy
Head, Aylesbury Mus Sch, Aylesbury-Bucks, Eng, 1967-74; Studio & Com¬
pos, 1975-87. Compos: Sonata for Va & Cello; Elegiefor Va; Sonata for Va
6- Pno, 1965; also many pedagogical works, distributed by Austra Str Tch
Assoc, and Austra Mus Centre. O&P Leopold Widhalm, 1777.

LEBEAU, MARTIN E (replace item in Vol I with the following) b 1938,
Alexandria, Va. Stud: Northwestern U, B.M.E.; U Virginia, M.A.; Temple
U, D.M.A. with Rolf Persinger, Harold Klatz. Va Chicago Chmb Orch 1959;
Asst Pr Va Trenton N.J. Symp 1969-. Str Tch Arlington, VA Sch 1960-66;
Mus Coordinator Pittsburgh, PA Sch 1967-68; Prof of Mus, Trenton NJ St

404

The History of the Viola

Coll 1969 Dissertation A Technical Analysis of 20th Century Unaccompa¬
nied Va Literature.

LEBERMANN, WALTER, d 1984 Bad Homburg, Gr (See also Vol. I)

LEDERER, DORIS, b 1954, Istambul, Turkey. Stud: Indiana U,
Georges Janzer 1972-74; Curtis Insti Mus, Michael Tree, Karen Tuttle
1974-76. Audubon Q 1976- Ded Jon Polifrone Sonata for Va b Pno, 1982-
83. With Q Pf cone and mstr-cls world wide: USA, So America, Europe,
China, Cons of Beijing and Shanghai; Record: Ded, Ezra Laderman 6th Q,
Peter Schickele American Dreams, RCA Red Seal.

LEHNER, EUGENE, b 1906, Poysony, Hungary. Stud: London
RAM, Vn, Jeno Hubay, Comp, Zoltan Kodaly, Chmb Mus, Leo Weiner,
1920-27. Kolisch Q, 1927-39; Stradivarius Q, c. 1939-58; Boston Symp
Orch, 1939-83. With Kolisch Q Prem Pf: Schonberg III b lIV Qs; Berg
Lyric Suite; Bartok III, V, b VI Qs; Webern Op. 28 b String Trio; and about
200 other comtemporary Qs. Teh: New England Cons Mus 1958-, Boston U
1965-, Berkshire Mus Ctr, Tanglewood 1940-. Honors: Fellow Acad Arts &
Sciences, Boston, 1964; Honorary Doctor Mus, New England Cons, 1983.
O&P Gaspar da Salo; Baptista Ceruti, Cremona, 1800.

LENKEWITZ-VON ZAHN, UTA, b. 1931 Zwickau/Sachsen, Gr. Stud
with Eva Boehr, 1946-51. Amateur Qs. Mbr VFG 1973- VPres, execu sec t
Ger IVG 1979-; Editor “Mitteilungen”, Gr IVG Journal 1986-. Hst-Chrp
1988 IVG Anniversary Congress, Kassel W Gr.

LENZI, EDO (1937-). See Chapter XV, “Italian Violists.”

LEQUIEN-POTET, COLETTE (See also Vol I, note change in last
name.) Co-President Assn Int i des Altistes et Amis de PAlto. Retired fac
CNSM-P, 1987.

LEVIN, HAROLD P. b 1956, Spring Valley, IL. Stud: Ball St U,
Robert Slaughter 1974-78; U Cincinnati, Raymond Stilwell, Donald
Mclnnes, Roland Vamos. Va Louisville Orch 1980-84. Asst Prof Va U
Nebraska 1984-, Mus Dir Lincoln, Nebr, Youth Symp Orch 1984-. Artist-
in-Residence Bay View, Mich, Fest 1987-. Prem Pf & Ded: Randall Snyder
Sonata 1984. Comp: Seven Pieces for Va b Pno, or 11 lnstru b Perc 1979;
Moods for Oboe, Va, Pno 1983; Quartet for Clarinet, Vn, Va, Cello 1986.

LEVINE, JESSE, b 1940, NYC. Stud: Mannes Coll Mus, William Kroll
1952-61. Pr Va Buffalo Philh Orch 1964-73; Guest Pr Va Dallas Symp Orch

Biographies of Violists

405

1977-78; Guest Pr Va Baltimore Symp Orch 1978-79. Teh SUNY/Buffalo
1964-73; Peabody Cons Mus 1979-83; Yale U Prof Mus (Co-ordinator Str
Dept) 1983-. Cond & Mus Dir: Norwalk CT Symp Orch 1980-; Chappaqua
Orch 1986-. Master Classes: Nat’l Youth Orch Spain 1987,88; Paris Cons
Mus 1988; Yale Sum, Norwalk, Ct 1988; and others. Prem Pf Lukas Foss
Orpheus for Va <b Orch, Ojai Fest, Michael Tilson Thomas Cond 1973. Also
see Rosemary Glyde, “Jesse Levine, Musician, ’Journal of the AVS, Vol. 2,
No. 3, 1986. O&P Giovanni Francesco Leon Porri, Milano, 1761.

LINCER, WILLIAM, (Also see Vol. I) Former students celebrated his
80th birthday 1987. Also see Marcia Ferritto, “William Lincer: Violist and
Teacher, ’’Journal of the AVS, Vol. 3, No. 3, 1987; and Dr. John Jacob Kella,
Ph.D. Dissertation, NYU, Book III, “A Review of Teaching Concepts of
William Lincer, Prof of Va at the Juilliard Sch.” The latter also contains
Lincer’ s biography.

LINDEMANN, HARTMUT, b 1953, Munden, W. Ger. Stud: Stadt
Musikadademie, Kassel, Albrecht Jaacobs, Rolph Schroeder, 1971-73;
Nordwestdeutsche Mus Acad, Detmold, Certificate, Bruno Giuranna,
Rainer Moog, 1973-78; Musikhochschule Koln, Rainer Moog, highest Ger¬
man PF Honors Exam, 1979-80; Ass’t Moog in Detmold, 1979-80. Va:
Radio Orch Saarbrucken, 1980-83. Pr Va: Nordwestdeutssche Philh, 1978-
79; Tasmanian Symp Orch, 1983-86; Sydney Symp Orch, 1987-. Teh: Syd¬
ney Cons, 1987-. Prem Pf: & Ded, Jean Daetwyler, Viola Concerto, Tibor
Varga Fest, 1979; Alfred Hill, Viola Concerto, (Bicentennial of Australia).
Tasmanian Symp Orch, 1988. O&P A.E. Smith, 44.5 cm. (17 1/2 in.), 1940.
Uses “Bach bow”, special bow for playing 4-voice chords.

LIPKA, ALFRED, b. Usti, CSSR. Finished musical studies at age 25,
and was appointed Dir of Eisenach City Orch. Pr Va Leipzig Radio Symp,
Mendelssohn Q 1958; Berlin Staatskapelle, Deutschen Staatsoper Q 1963-
75. Critics Award, Musikbeinnale, Berlin 1975; DDR Arts Prz 1975; DDR
Nat’l Prz 1980. Jury, Tertis Int’l Va Compt & Wkshop, Isle of Man, 1984.

LISKA, KAREL (1883-1935). See Chapter XVII, “The Czechoslovakia
Viola School.”

LONG, JAMES A., b 1954, Boston MA. Stud: U of Texas, B.A., Donald
Wright; Louisiana State U, M.M., Jerzy Kosmala, 1984; Private Ralph
Hirsh, Francis Tursi, Wayne Crouse, Lawrence Wheeler. Va Baton Rouge
Symp 1983-84; Austin Symp 1984-86; Arkansas Symp 1987-. Prem Pf
Karen Griebling-Long 4 Violettes for 2 Vas with Comp (wife) 1984. O&P
Helmuth Keller (ex-Lawrence Wheeler).

406

The History of the Viola

LONGREE, GEORGES, b 1918 Brussels, Bel. Stud: Brussels Royal
Cons Mus: 1st Prz Harmony 1939, Sarly; 1st Prz Vn 1941, Dubois, 1st Prz
Va 1942, Francois Broos; 1st Prz Counterpoint 1942, Maulaert; Diplo Supr
Va & Chmb Mus 1944, F. Broos & A. Gertler; Prz Fugue 1942, L. Tongem;
Prz ERRERA Str Q, A. Gertler. Teh Chmb Mus Brussels Royal Cons Mus
1945-55; Va Liege Cons 1955-73; Prof Va BRCM 1973-84. Pr Va Belg Nat’l
Opera Orch, and Opera Str Q 1945-84, Q “Quatacher” 1962-87. Chevalier
de l’Ordre de Leopold; Officer de l’Ordre de la Couronne. Soloist Va
d’Amore. Jury Maurice Vieux Int’l Concours de l’Alto 1986. O&P Augustin
Chappun, Paris 1766, “in mint condition” 40.8 cm. (16 in.).

LOUGHRAN, HUGH, b Baltimore, MD. Stud: Vn: Peabody Cons,
Gerald Eyth, Robert Gerle 1962-63; AF of M Congress of Strings, Michele
Piastro; Cleveland Insti Mus, Vn Raphael Druian, Va Abraham Skernick,
Chmb Mus Giorgio Ciompi, William Kroll 1963-66; Aspen Fest, Abraham
Skernick, Lillian Fuchs, Amadeus Q, Juilliard Q Sum 1965,67; Priv
Emanuel Vardi, Samuel Kissel. VA Indianapolis Symp 1966-67; Minneap¬
olis Symp 1967-68; Asst Pr Va & Solo Baltimore Symp 1968-71; Pr Va New
Jersey Symp 1972-73, “Music for Westchester” Symp, Springfield Symp,
Brooklyn Philh, Free Lance Va, 1971-79; Pr Va NYC Opera Orch 1975-79,
1981-83; Pr Va and Solo Syracuse Symp 1979-. Sum Fests: Aspen 1967;
Eastern Mus 1969; Newport Chmb Mus 1971-74; Caramoor 1975-79. Fac
Apple Hill Center for Chmb Mus, Sum 1980; Syracuse U 1980-. Prem Pf
Emanuel Vardi Suite on American Folk Tunes 1981; his own Trans & Orch
Mozart Concerto K.216 1986; Don Godfrey Three Marian Eulogies for
Tenor Voice, Va, Pno 1988. Working on other trans and orchestrations. O&P
2 Nicholas Frirsz, 1987.

LUDEVIG, ALEXEI V., b 1929. Stud: Leningrad Cons, A.M. Sosin.
Now (1985) Prin Prof Va, Leningrad Cons & Co-Pr Va Leningrad Philh.
Prem all comp by David Finko in Russia with Leningrad Philh. Also plays Va
d’Amore.

LUKACS, PAL, 1919-81, Budapest, Hungary. Stud: vn and singing,
Liszt Acad, Budapest, vn Waldbauer, leader Waldbauer Q (Bartok ded Q to
them). Hearing Lionel Tertis and Clifford Curzon, pno, rctl 1935, switched
to Va. 1st Prof Va, Liszt Acad Mus 1945-81. Artist Pf and Teh: many stu¬
dents in European orchs: Vidor Nagy, Pr Va, Stuttgart Staatsorch, Laszlo
Barsony, Zoltan Toth, Sandor Papp, Gabor Ormal, Geza Nemeth won Inti
Compts, Csaba Erdelyi, 3 compt. Devised, pub comprehensive system of
“ Exercises in Change of Position .”

Biographies of Violists

407

MACHA, OTKAR (1872-1924). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

MACHACEK, See Chapter XVII, “The Czechoslovakia Viola School.”

MAGERS, WILLIAM, b 1934, Horton KS. Stud UC/Santa Barbara,
Stefan Krayk 1951-55; USC, Sanford Schonbach; Indiana U, David Dawson
1958-59; Dorothy Delay, Sum 1960,61; U of Illinois, Paul Roland 1962-63,
John Garvey 1964-64; USC, Milton Thomas 1975-77; Louis Kievman 198 1-.
Va St. Louis Symp 1958-63. Tch So Illinois U/Edwardsville; New Coll,
Sarasota, FL, New Coll Q 1967-69; U of Illinois, Walden Q (visiting) 1969-
71; Arizona State U and New Art Q 197 1-; Paul Rolland Wkshps 1971-;
Meadowmount Sch Mus 1985-. USA Prem Bernd Alois Zimmermann An-
tiphonen. Record Qs of Vincent Persichetti; Persichetti Pno Quintet with
Comp. Also see Rosemary Glyde, “William Magers Journal of the AVS,
Vol 4, No 1, 1988. O&P Joannes Gagliano, 1804.

MAGIN MARCELLA (1945-). See Chapter XII, “A Brief History of
the Viola in Argentina. ”

MAGLIONI, GIOACCHINO (1891-1966). See Chapter XV, “Italian
Violists.”

MAHRER, WALTER, b 1912. Vn, Va, Theory Tch, Mus Critic. Stud:
Basel, Switz, Cons, VA: Albert Bertschmann, 1930-36. VA: Zurich Radio-
orch, 1937-42; Zurich Tonhalle Orch, Sinfonie, Theater, 1943-76. Found-Pf
New Zurich Str Trio. Honorary Diploma SMPV (Swiss Music Pedagogy
Assoc) in recognition of his contributions to music education.

MAJEWSKI, VIRGINIA, SEE APPENDIX, INTRODUCTION,
Vol II.

MAJOR, MARGARET, b 1932, Kingston, Surrey, Eng. Pr Va Natl
Youth Orch GR Britain 1948-9. Stud: RCM London, Frederick Riddle
1949-53; Peter Schidlof 1960. 1st Prz 1st Lionel Tertis Compt 1951. Inti
Mus Assoc Award 1955. Debut rctl with Gerald Moore, London 1955. Pr Va
Netherlands Chmb Orch, 1956-9; London Philomusica, 1960-5. Va
Oromonte Str Trio 1958-65; Aeolian Str Q 1965-81 (world tours and record
complete Haydn Q for Argo/Decca. Pf Mozart Concertante with Symon
Goldberg, Athens Fest, 1956; Benjamin Britten Lachrymae with composer
on his birthday BBC 1963. Prof Va RCM London 1969-. O&P H & A
Brothers Amati 1616.

408

The History of the Viola

MALKIN, IGOR. Stud: Moscow Cons, V. Borissovsky. Now (1985)
Co-Pr Va Leningrad Philh.

MALY, LUBOMIR (1938 ). See Chapter XVII, “The Czechoslovakia
Viola School.”

MAREK, JAN (1933-). See Chapter XVII, “The Czechoslovakia Viola
School.”

MASSON-BOURQUE, CHANTAL, b 1937, Saint-Denis, France. Va
CNS Paris: Etienne Ginot, 1st Prz 1958; Micheline LeMoine, repertoire;
Norbert DuFourcq, 2nd Prz Mus Hist 1958; Jacques Fevrier 1957-58,
Joseph Calvet 1958-59, Chmb Mus; Roland Manuel 1957-58, Marcel
Beaufils 1958-59, Mus Aesthetics. Pr Va Chmb Orch France/Paris 1958-59;
Va: Radio France Chmb Orch/Nice 1959-63; Lyric Orch PORTF/Paris
1963-64; Pr Va Radio Canada Chmb Orch/Quebec 1964-; Solo with Orch
Ottawa, Quebec, Radio Canada Montreal & Quebec. Gilles Graven Q/Nice
1960-63; Ens Quebec 1970-74; Duet Sonatas with Mariko Sato, Pno 1976-;
Laval Q 1982-. Prof Va, Chmb Mus, Instru Methods, Choral, U Laval/
Quebec 1964-; Str Rehearsal Supervisor Orch Mondial du Teunelles Mus,
New Orleans-Mont Orford, Can; Cond Ens Vocal Mus Masson; Chorale U
Laval; Symp Chorus Quebec. French translation “Teaching Methods of Paul
Rolland.” O&P Jean Bauer, Angers, France, 1968.

MASSUN, GUSTAVO (?-?). See Chapter XII, “A Brief History of the
Viola in Argentina.”

MATTEUCCI, GIUSEPPE (1893-1952). See Volume I, APPENDIX.

MAZUREK, OTTO (1927-). See Chapter XVII, “The Czechoslovakia
Viola School.”

McCARTY, PATRICIA, (Also see Vol I) Asst Pr Va Boston Symp 1979-;
Pr Va Boston Pops Orch 1979-81. Fac Boston Cons 1987-; Sum Aspen
1989-; Instructor, U Michigan 1975; Fac Ithaca Coll 1977-79. Ithaca Str Trio
1977-78; Lenox Q 1978-79. World Prem: Tibor Serly Sonata in Modus
Lascivus for Solo Va, XIV IVG Congress, Ann Arbor 1987; and Ded: David
Gregory Cardinal 1973; Jerome Rosen Maria, A West Side Story Para¬
phrase, Va & Pno, Va & Orch, Boston 1980; Marjorie Merryman La Musique
for mezzo-soprano , Va, & Pno, Watertown, MA 1987; Martin Amlin, Sonata
for Va & Pno, Boston U 1987; Daniel Pinkham Sonata da Chiesa for Va ir
Organ, Belmont, MA 1988; NYC Prem Pf: Benjamin Britten Lachrymae
(Orch), Alice Tully Hall, 1978; Leo Ornstein Fantasy for Va & Pno, Ornstein

Biographies of Violists

409

90th Birthday, Merkin Hall 1982. Record: Loeffler Va Songs, Rebecca
Clarke Sonata, Passacaglia, and other chmb works, all Northeastern
Records; Dvorak Sextets, Brahms Quintets with Boston Symp Chmb
Players, Nonesuch. Debut Rctl Boston 1980; Wigmore Hall, London (for
Rebecca Clarke Centenary Year) 1986. Also see “Patricia McCarty: A Violist
Reflects on Her Career as Member of the Boston Symphony, Teacher and
Solo Performer,” The Violexchange. Vol. IV, No. 1, 1989, pp. 46-49. O&P
Joseph Napoleon Brugere, 1899.

McINNES, DONALD, b 1939, San Francisco, CA. Stud: U California/
Santa Barbara, B.M.; USC M.M.; Va Stepan Krayk, Walter Trampler,
William Primrose; Chmb Mus Jascha Heifetz, Gregor Piatigorsky, Gabor
Rejto, Eudice Shapiro. Pr Va: Santa Barbara Symp 1955-61, Seattle Symp
1966-68, Marlboro Fest 1970-71, Pittsburgh Symp 1972-73. Prof Va U
Washington 1966-79, Cincinnati Coil-Cons Mus 1979-1982, U Michigan
1982-85, USC 1985-. Va Clinician & Masterclass: Banff Centre 1976-; IVG
Congress 1975, 78, 79, 81, 84, 87; M.E.N.C. Convention 1976, 86; Congress
of Str 1975; Britten-Pears Int’l, Eng; Yehudi Menuhin Sch Eng & Switz
1976, 79, 88; Mus Acad West 1982-. World Prem Pf William Schuman
Concerto on Old English Rounds for Va, Womens Chor, & Orch, a Ford
Foundation grant, Boston Symp, Cond Michael Tilson Thomas 1979; John
Verrall Concerto for Va &■ Orch, C.B.C. Chmb Orch, John Avison Cond
1969; Vincent Persichetti Parable for Solo VA, III IVG Congress, Ypsilanti,
MI 1975; and comm for: William Bergsma Variations and a Fantasy for Va
&■ Orch, Seattle Symp, John Miedel, Cond 1978; Robert Sunderberg VIOLA
I for Solo Va by Nat l Endowment Arts 1988; and Ded: Paul Louis Fink
Fantasy for Solo Va, Palo Alto Ca 1974; Paul Tufts Sonata for Va & Pno,
Seattle, WA 1974. Record (among many) William Schuman Concerto on Old
English Rounds, NY Philh, Leonard Bernstein, cond, Camerata Singers,
Columbia; Hector Berlioz Harold in Italy, Orch Nat l France, Leonard
Bernstein, cond, Angel; Schonberg Verklaerte Nacht, Lasalle Q, DDG.
Active solo Va throughout world, with many leading orch, in leading music
fest, No America and Europe. O&P David Wiebe, 1975; Tetsuo Matsuda;
now plays (1991-) ex-Prevost, ex-Umer Gasparo da Said.

MCNABNEY, DOUGLAS, b 1955, Toronto, Canada. U Toronto,
B.M., David Zafer-1978; U Western Ontario, M.M., Gerald Stanick -1982.
Galliard Ens, Toronto, 1979-83; Pr Va Quebec Symp Orch 1983-86. Prof
Va: Cons Mus Quebec 1983-88; McGill U 1988-. Record: Radio-Canada
Int’l; SNE: CBC Enterprises; Berlioz Harold in Italy Orch Symp Quebec,
Simon Streatfield, Cond, CBC Enterprises SM5047 1985. O&P Anon Ital¬
ian, ex-Streatfield, 1750.

410

The History of the Viola

MERLINI, FABRIZIO (1959-). See Chapter XV, “Italian Violists.”

MICHELIC, MATTHEW CARL, b 1954, Milwaukee, WI. Stud: U
Wisconsin/Milwaukee, Bernard Zaslav, Jerry Horner, B.F.A. 1972-80; Insti
Advanced Mus Stud, Montreux, Switz, full scholarship, William Primrose,
Paul Doktor, Bruno Giuranna, 1974; coaching from world’s great chmb mu¬
sicians. Fellowships: Aspen Fest 1981; Britten-Pears Sch Advanced Mus
Stud, Aldeburgh, Eng 1982; Va Teh Asst, U Wisconsin/Milwaukee. Va As¬
pen Fest, Colorado Springs Symp Orch, Milwaukee Symp Orch; Pr Va
Milwaukee Ballet Orch 1978-82, Waukesha Symp Orch 1979-82, Fox Val¬
ley Symp Orch 1987-88. Kenwood Q 1978, Guest Fine Arts Q 1982; Da
Vinci Q 1981-84; Delos Q 1985-86; Artist-in-residence Colorado Coll Sum
Cons 1985-87; Lawrence Chmb Players 1987-88. Record (da Vinci Q):
Israel Kremen String Q #1; String Q #2 “ Prayer .” Teh Priv 1977-84; Chmb
Mus & Va Milwaukee Youth Symp Orch 1980-82; Va Blue Lake Fine Arts
Camp, MI 1984; U Colorado/Colorado Springs 1982-85; Instru Va U Del¬
aware 1985-86; Colorado Coll Sum Cons 1985-88; Asst Prof Va Lawrence
U, Appleton, WI 1987-. O&P Franz Kinberg, Chicago, 1961.

MICHNAEVSKI, ALEXANDER, b 1955, Moscow, USSR. Stud: Cen¬
tral Mus Sch Moscow, Yankelevich, Glesarova, Gilels; Juilliard, Dorothy
DeLay, William Lincer; Priv Isaac Stern, L. Fenives. Pr Va Soviet Emigre
Orch world-wide tours 1979-86; NY Chmb Orch Euro Tour 1980; Orch
Symp de Xalapa, Mexico 1982-84; Pr Va Detroit Symp Orch 1988-. With
Shlomo Mintz numerous Pf Mozart Duo Concertante. Soloist with NYC
Symp, Queens Symp, NJ St Orch, Oklahoma Symp, Taipei Symp, Detroit
Symp. O&P Bartolomeo Calvarolla, Bologna, 1765.

MILDNER, MORIC (1812-65). See Chapter XVII, “The Czechoslo¬
vakia Viola School.’’

MILETIC, MIROSLAV (1925-). See Chapter XVI, “The Viola in Yu¬
goslavia.

MILLER, DAVID, b 1948, Richmond, VA. Stud: Priv Chester
Petranek; Oberlin Cons, B.A., William Berman 1966-70; Juilliard Sch,
M. M. , William Lincer 1972-75. Pr Va & Artist Fac Aston Magna 1974-; The
Classical Q 1979 -; Haydn Baryton Trio 1979-; Pr Va: Concert Royal, Mostly
Mozart, Mozartean Players, Boston Early Mus Fest, Handel & Haydn Soc
Orchs. Records: J.S.Bach the Six Brandenburg Concerti, Aston Magna,
Smithsonian Collection, 1978; J. Haydn Baryton Trios Vol I, Baryton Trios
Vol II, Musical Heritage Soc 4354, 1981; 4565, 1982; Beethoven Serenade
Op. 25, Metropolitan Museum Art, Pleides P 106, 1981; Mozart Q in D

Biographies of Violists

411

K.285, Aston Magna, Cambridge Records CRS 2827 1976; Mozart Str Qs
K.387 & 458, The Classical Q, Titanic Ti-154, 1987. Article: “The Baroque
viola: A Discussion of the Instrument and Performance Techniques,” Amer¬
ican String Teacher, Winter, 1987. O&P Matthias Albanus, Bozen 1687.

MILNE, ALISON. Author of book Playing the Viola (Novello &
Co, 1986) recommended by Paul Doktor, Nannie Jamieson, and Henri
Temianka.

MIMOHODEK, IVICA, b. 1933. See Chapter XVI, “The Viola in
Yugoslavia. ”

MIRANOV, LADISLAV (1900-1988). See Chapter XVI, “The Viola in
Yugoslavia. ”

MISCHAKOFF, ANN, (Also see Vol I) Tch: Prof Va: Northwestern U
1981-87; Calif St U/Fresno 1987-88; Tauriska Sum Mus Insti, Austria 1988.
Active in ASTA: Calif State Pres 1980-81, Ill State Pres 1982-83; Pres Nat l
ASTA 1985-87.

MISSAL, JOSHUA M., b 1915, Hartford, CT. Va, Cond, Administra¬
tor. Stud: Priv William Kroll 1930-32, Samuel Gardner 1932-33; Eastman
Sch Mus B.M., M.M., Samuel Belov 1933-38; Priv Ferenc Molnar 1948. Va
Rochester Philh, 1932-38; Cond Albuquerque Philh 1938-42; Prof Vn, Va
U New Mexico & Danfelser Sch Mus; CWO Bandleader 608th AAF Band
1942-46; Chairman Mus Ed Dept, Olympia Q, Cond Symp, South Missis¬
sippi U, Pr Va Jackson Symp 1950-52; Chairman Mus Theory & Comp
Dept, Prof Va Wichita St U, Assoc Cond Wichita Symp 1952-70; Prof Va,
Vn, Head Theory/Comp Dept, Hartford CT Cons, Cond Hartford Civic
Orch, Va Hartford Symp 1970-76; Cond Scottsdale AZ Civic Orch 1979-84;
Missal Trio 1976-89. Comp Improvisation, Prem Pf Patricia McCarty,
former student. Former students now in most major USA Symp, London
Philh, Concert Gebouw Orch Amsterdam. Has appeared with many orch,
pf Berlioz Harold in Italy. Vaughn-Williams Suites, Bloch Suite Hebraic,
Concertos by Stamitz, Forsyth, Hindemith, Antiufev, Milhaud, and others.
Tch mstr-cls throughout USA. Honorary Dr. Mus. London Sch Mus 1974.
O&P Kuypers, 1752, 38.2 cm. (15 in.).

MOECKEL, RAINER, b 1943 Germany. Stud: Mus Acad Detmold, W
Ger, Wilhelm Isselmann, Lukas David, Tibor Varga. Pr Va: Trondheim
(Norway) Symp 1970-74; W Ger: Mannheim Chmb Orch 1974-76; Bam¬
berg Symp 1976-78; Nuremberg Philh Orch 1978-80. Record, Ger Prem Pf
Walter Piston VA Concerto for Bavarian Broadcast, Bamberg Symp. Comm

412

The History of the Viola

& World Prem Pf: Wolfgang Hofmann Duo for Vn b Va, Atlanta 1978; John
Boda Concert Piece for Va b Wind/Perc Ens, Tallahassee 1982. Asst Prof Va
Florida St U 1980-87, Assoc Prof Va 1987-; Sum Fac: Int’l Insti Chmb Mus,
Munich 1981-85; Bay View (Michigan) Mus Fest 1985-86; Nat l Mus Camp
1987-. O&P Gaetano Sgarabotto, Brescia, 1950.

MOGILL, LEONARD, (Also see Vol I) Still active pf, tch, substitute,
and soloist at Philadelphia Orch. Honorary Doctorate, Philadelphia Coll Pf
Arts.

MOLNAR, FERENC (1896-1985). See Introduction to PART FOUR-
APPENDIX.

MOLO, CAYETANO (?-?). See Chapter XII, “A Brief History of the
Viola in Argentina.”

MOOG, RAINER. Stud: Tibor Varga, Walter Trampler. Pr Va Berlin
Philh 1974-78. Pf Bartok Concerto, Rundfunk-sinfonic-orchester Cologne
1971. Solo with orchs: NDR Hamburg; WDR Cologne; RSD Berlin; Rhein-
ish Philharmonia, Oslo Philh. Solo rctls incl large repertoire of Va literature.
Duo rctls with singer Klesie Kelly, soprano. Chmb mus with Rudolf Serkin
at Marlboro. Tch Va Cologne Musikhochschule 1978-. Record: Brahms
Sonatas, Op. 120 (Gramaphone 1975); von Weber Thema und Variations,
and Andante und Rondo (H.F. 3/77); Britten Lacharymae (Schwann 1976).

MORAVEC, KAREL (1880-1959). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

MORGAN, ELIZABETH, b 1941, Surrey, UK. Stud: Trinity Coll Mus,
London, Jan Sedirka. Mbs Queensland, Australia, Symp, 1963-72. Tch
Church of Eng Grammar Sch 1972-5; U Queensland 1975-. Mayne Q
1970-6; Mayne Str Trio 1980-6. Found, Pres Australian Str Tchs Assoc
1975-85. Found Camarata of St John’s Chmb Orch for own studts. Studts
play in Australian, British, & Berlin Orchs. O&P Antonio Sgarbi, Rome
1900.

MORROW, RUTH. Ph.D., D.M.Ed., D M. A. Prof Va, U So Missis¬
sippi.

MOTLfK, JAN (1944-). See Chapter XVII, “The Czechoslovakia Viola
School.”

Biographies of Violists

413

MOTLIK, JAROSLAV (1926-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

MOTTIK, JAROSLAV. See Chapter XVII, “The Czechoslovakia Viola
School.”

NAEGELE, PHILIPP O., b 1928, Stuttgart, W Ger. Vn, VA. Stud:
NYC High Sch Mus & Art 1941-45; Queens Coll, B.A., Ernst Rosenberg
1945-49; Yale U 1949-50; Princeton U, M.A. 1950, Valentin Blumberg,
Ph.D. 1955; Vienna Acad Mus, Franz Samohyl 1953-54: Adolf Busch Sum
1950, 51. Academic Honors, Phi Beta Kappa; Fellowships: Proctor, Prince¬
ton U; Graduate, Am Council Learned Soc; Fulbright, Vienna. Marlboro
Mus Fest 1950-. Vegh Q 1977-79. Cantilena Pno Q 1980-. Tch Smith Coll
1964-, William R. Kenan Jr. Prof Mus 1978-. Numerous record, cone.
Artist-in-residence: Nat l Arts Center, Can; Yehudi Menuhin Sch, Eng;
Freiburg Hochschule Mus, Ger. As Va record on Da Camera Magna label:
Beethoven Duo for Va & Cello (Impromptu); Danzi Duo fo Va 6- Cello;
Dittersdorf Sinfonia Concertante for Va 6- Double Bass; Hindemith Sonata
for Va & Pno, Op. 11, No. 4, Sonata for Unacc Va, Op 25, Duet for Va 6-
Cello; Martinu Sonata for Va & Pno 1955; Telemann Concerto in G Major;
on Da Camera Song label: Paganini Terzetto Concertante for Va, Cello 6-
Guitar. Contributor, New Groves Dictionary Mus. O&P Marten Cornelis-
sen, 1965.

NAGY, VIDOR, b 1942, Budapest, Hungary. Stud: Ferencz Liszt
Acad, Pal Lukacs. 1st Prz Budapest Compt. Pr Va: Wuppertal; Stuttgart
StaatsOrch 1976-. Pf Stuttgart IVG Congress 1982. Record: Joseph Schu¬
bert and Alessandro Rolla Concertos, Carus label FSM63109.

NAJNAR, JIRI (1941-). See Chapter XVII, “The Czechoslovakia Viola
School.”

NASSIMBENI, LORENZO (1958-). See Chapter XV, “Italian Vi¬
olists.”

NEDBAL, OSKAR (1874-1930). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

NEMETH, GEZA, b 1936, Hungary. Stud: Ferencz Liszt Acad, Pal
Lukacs. 1st Prz, Geneva 1962. Bartok Q.

NEU, AH LING, b 1956, Kobe, Japan. Stud: San Francisco Cons,
Gennady Klenman, Don Ehrlich 1975-81; Royal Cons Hague, Nobuko Imai

414

The History of the Viola

1981-82. Va San Francisco Symp 1981-83. Ridge Q 1984-. Favorite Va A.
Guarneri.

NEUBAUER, PAUL, b 1962, Encino, CA. Stud: Alan de Veritch
1975-79; Juilliard, B.M. 1982, M.M. 1983, Paul Doktor 1979-83; William
Primrose Sum 1980, 81. 1st Prz: Lionel Tertis VA Compt 1980; D’Angelo
Int’l Compt Str 1982; Mae M. Whitaker Compt 1983; Solo Rctl Fellowship
Nat l Endowment Arts. Pr Va NY Philh (at 21, the youngest musician ever
in 142 years) 1984-89. Soloist: NY Philh, Los Angeles Philh, St. Louis
Symp, San Francisco Symp, Bavarian State Radio Orch, Eng Chmb Orch,
Public Broadcasting System, and radio in other countries; and Fests. Rctls,
Naumburg Foundation 1983; Solisti New York 1985. Prem Pf: Gordon Jacob
Concerto No. 2, London, Eng Chmb Orch 1981, Solisti NY 1983; Maurice
Gardner Sonatas, IVG Congress 1984, 1988. Krzysztof Penderecki Va
Concerto, Comp Cond NY Philh 1987, Cadenza for Solo Va, Kaufman Hall
NYC 1988; David Ott Concerto for Va 6- Orch Knoxville Symp 1989; Im¬
provisations as encores 1983-. Record with James Galway, flute, RCA 1989.

NEUMANN, VACLAV (1920-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

NICKRENZ, SCOTT, (Also see Vol I) Stud: Max Aronoff. Found Mbr
Contemporary Q; Modern Jazz Q. Va Pittsburgh Symp 2 years. Teh: New
Eng Cons 1976-80; Harvard, Princeton, No Carolina Sch Arts, Hartt Sch
Mus 1980- now Chairman of Str Dept. Chmb Mus Dir Spoleto Fest USA,
Italy, Australia. Dir Chmb Mus and Dir “New World Symp” Miami, FL
1989. Also see Rosemary Glyde, “Scott Nickrenz , ” Journal of the A.V.S.,
Vol. 3, No. 3, Nov. 1987, pp. 9-16.

NORTON, DONALD B., b 1918, Ludington, MI. Stud: Priv Vladimar
Bakelienikoff, Joseph Vieland, Erik Kahlson; Western Michigan U, B.S.
1941; U of Maryland, M.A. 1952; Columbia U, Ed.D. 1956. Va Detroit
Symp Orch 1941-43; Baltimore Symp Orch 1945-46; Stockholm (Sweden)
Philharmonic 1970-73; Chautauqua Symp 1975-77; Tartini Q 1975-86. Au¬
thor numerous articles regarding mus education. Chairman Mus Dept, Bal¬
timore City Coll 1948-61; Coordinator Graduate Mus 1970-76, Prof Mus
1961-83, Glassboro NJ State Coll. Now retired from tch, is an assoc of the
Int’l Mus Co. O&P J.B. Guadagnini, 1784.

NOVACEK, LIBOR (1949-). See Chapter XVII, “The Czechoslovakia
Viola School.”

Biographies of Violists

415

OHYAMA, HEIICHIRO, b 1947, Kyoto, Japan. Stud: Indiana U,
William Primrose, 1970-72. Pr Va Los Angeles Philh 1979-; Prof Mus, U of
Calif/Santa Barbara, 1981-; Mus Dir, Santa Barbara Chmb Orch 1983-;
Artistic Dir, La Jolla Sum Fest 1986-; Asst Cond, Los Angeles Philh 1987-.
Prem Pf L. Berio Voci.

OJSTERSEK, GUNTER, b 1930 Recklinghausen, Gr. Stud: Essen
Folkwang-Hochschule, Detmold Musikadamie. Many years mbr Nordwest-
deutschen Philharmonie, Staastheater Orch Hannover. Pr Va Diisseldorfer
Sinfoniker 1964-. Lecturer Hauptfachklasse fur Va Dussseldorf Musikhochs-
chule Rheinland. Concerts in and out of Ger. Pf IVG Intern’l Congress,
Redlands, Calif. 1989. Solo and chmb in WDR, SWF, with Radio Brussels,
and other recordings. Also outstanding reputation on Va d’Amore in Eur,
Israel, USSR, USA. V Pres IVG 1984-8; Pres IVG 1988-.

ONDRfCEK, KAREL (1863-1943). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

OPPELT, ROBERT L. (Correct in Vol I: “Lehman Coll, CUNY” not
“NYC U”. After “D.M.A. 1957” add “Thesis Topic: “A Study of Contempo¬
rary American Va Solos. ”; add to Vol I) Prem Pf & Ded George Flynn Duo
for Va & Pno, NYC 1976. Pub: The Robert L. Oppelt String Series, 10 Vols,
Willis Mus Co., 1990; Ed Va Column A.S.T.A. Journal 1981-85; Board Mbr
AVS 1976-. O&P Marten Cornelissen, 1986.

ORIGLIA, GIORGIO ((1937—). See Chapter XV, “Italian Violists.”

OSWELL, SIMON, b 1954, Brisbane, Queensland, Australia. Stud:
John Curro, Brisbane; Jan Sedirka, Tasmanian Cons Mus, Hobart, Tasmania;
UC/San Diego, M.M., Janos Negyesy, 1989; Grad Work USC 1989-,
Donald Mclnnes. Found Mbr Petra Q; guest Pr Va Queensland Symp; Pr Va
Queensland Theater Orch; mbr SONOR, contemp mus ens, San Diego. Fac
Tasmanian Cons Mus. Rctl XVII IVG Congress, Redlands, Calif., 1989.

OUZOUNIAN, MICHAEL, b Detroit, 1951. Stud: Va, Ara Zerounian;
Nathan Gordon; Cleveland Inst of Mus, Abraham Skernick, 1968-72. Pr Va,
1972-, New York Metropolitan Opera Orch (youngest Pr in Orch’s history),
James Levine, Cond. Summers, Guest Soloist Ravinia Mus Fest, Chicago,
1975-. Chicago Symp Orch soloist: Harold in Italy, 1978, 1989; Mozart
Symphonie Concertante, 1980, 1985, 1987; William Bolcom Fantasia Con-
certante. Recitals with Marilyn Horn and James Levine. Chmb Mus debut
with Joseph Silverstein, vn, Lynn Harrell, cello, James Levine, pno, Alice

416

The History of the Viola

Tully Hall, 1977; has wide chmb mus repertoire. O&P Helmuth Keller,
1983; gut strings, no shoulder pad.

PAGANINI, NICCOL6 (1782-1840). See Volume I, APPENDIX.

PAGE, RAYMOND, b 1933, Atlanta, GA. Stud: Ivan Galamian,
Dorothy DeLay, Josef Gingold 1948-56, Fulbright Scholar Vienna &
Salzburg 1957-58; Grad: Juilliard 1955, Ohio State U 1958. Alard Q 1957-.
Tch Penn State U; U of Canterbury, New Zealand; Sum Bennington VT
Coll. Va Vienna, Austria Chmb Orch 1957. Alard Q many Pf with major
orchs, records, 2 Euro tours, and Fests. O&P Enrico Cerruti, 1860.

PALUMBO, MICHAEL A. b 1945, Denver, Colorado. Stud: U of
Denver, B.M.Ed. 1967, M.A. 1971, Lee Yeingst; Ball State U, D.M.A.
1981, Robert Slaughter. Dir Orch & Str: Cedar Falls HS 1971-73, Ft.
Wayne IND State Coll 1973-81, Weber UT State Coll 1981-. Pr Va Wa¬
terloo IA Symp 1971-73, Sioux City IA Symp 1973-81; Va Sioux City Symp
Q 1975-81, Muncie IN Symp 1979-81; Weber Ut State FacTrio, Q, 1981-.
Prem Pf Maurice Gardner Quadricinium for Va, Fere, 6- Dancer, Weber
State Coll 1986. O&P Russell Coe, Albion IN, 1978.

PAPICH, GEORGE, b 1935, Highland Park, Michigan. (Also see Vol
I.) Stud: U of Michigan, BM 1956, MM 1958, DMA 1964, Eugenia Scoville,
Emily Mutter Adams, Robert Courte, Mischa Mischakoff. Pr Va Chatta¬
nooga Symp Orch, Fort Worth Symp Orch, Dallas Opera & Dallas Lyric
Opera, Dallas Ballet, Dallas Chmbr Orchs. Chmb Mus: Fine Arts Pno Q,
Shiras Str Q, North Texas Str Q, Manchester Mus Players, Vermont Chmb
Players, Voices of Change. Prem Pf: Martin Mailmah Mirrors; Larry Austin
Fantasy Ives. Ded & Prem Pf: Ronald Caviani 5 Pieces; Thomas Clark Diag
Dreams; Rule Beasley Sonata for Va & Pno. Record for Urrida and Folk¬
ways. Articles: with Edward Rainbow “String Perf Practices”, Journal of
Research in Music Education, 1974, Pyschology of Music, 1975.

PARDEE, MARGARET, b 1920, Valdosta, GA. Stud: Vn: Insti Mus
Art, Juilliard, Sascha Jacobsen 1937-42; Juilliard Grad Sch, Albert Spalding
1942-43, Louis Persinger 1943-46, Ivan Galamian 1947-. Tch Assist
Galamian (until his death), who recommended that she play and tch Va. Tch
Va & Vn Juilliard & Meadowmount 1942-, Va students in NY Philh, Pitts¬
burgh Symp, Los Angeles Philh, Philadelphia Orch, Pr Va Toulouse Orch
France. Toured Duo with Dorothy Phillips Mauney, vn, pf Mozart Sym¬
phonic Concertante, Nat l Gallery Orch, Cond Richard Bales, Washington,
D.C., & Great Neck NY Symp, Cond Sylvan Shulman. O&P Simone
Sacconi, 19?.

Biographies of Violists

417

PARIS, MASSIMO (1953-). See Chapter XV, “Italian Violists.

PASCAL, LEON b. 1899 Montpellier, France, d. 1970. Stud CNSM-
Paris, Maurice Vieux, Prz d’Excellence 1918. Found Mbr and Va Leon
Pascal Q.

PASQUALI, GIULIO (1884-1943). See Chapter XV, “Italian Violists.”

PASQUIER, BRUNO, (Also see Vol. /.) 1st Prz Va and Chamb Mus,
CNSM-Paris. Pf Eur & No Am Solo and with other musicians, incl Regis, his
brother (Vn), Menuhin, Istomin, Leonard Rose, Rampal, Paul Tortelier,
Maurice Gendron, & Roland Ridoux, VC; Piano Q with some of greatest
pianists of the XX Century; Japan with Fr Nat l Orch cond Lorin Maazel.
Prof Va CNSM-Paris 1972-. Masterclasses Montreux, Salzburg, etal. Many
recordings.

PASSAGIO. STEFANO (1921—). See Chapter XVI, “The Viola in Yu¬
goslavia. ”

PATAKI, JAMES, b Hungary, reared in Toronto, Can. Stud: Elie Spi-
vak, Kathleen Parlow. Ferencz Liszt Acad, Budapest. Budapest Opera
Orch. Philh Hungarica in Austria, cond Antal Dorati, 1956, many prz win¬
ning records. Schaeffer Q in Ger. Brunswick Q, Q-in-Residence U of New
Brunswick, Can. O&P Georgius Hellmer, Prague, 1743.

PAVlCEK, JAROMfR. See Chapter XVII, “The Czechoslovakia Viola
School. ”

PAZOUR, IVAN. See Chapter XVII, “The Czechoslovakia Viola
School.”

PERINI, MARIO (?-?). See Chapter XII, “A Brief History of the Viola
in Argentina. ”

PERUSKA, JAN (1957-). See Chapter XVII, “The Czechoslovakia Viola
School.”

PESKOVA, ZUZANA (1943 -). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

PEZZULLO, GIUSEPPE. See Chapter XV, “Italian Violists.

418

The History of the Viola

PFUHL, PETER TOBIAS, b 1928, Darmstadt, W. Ger. Stud: Marie
Weitzig, 1932-46; Hochschule Freiburg, Prof A. Nauaber, 1946-48; Hoch-
schule Trossingen, ProfW. Muller-Crailsheim, 1948-49. Winner: German
Compt, Freiburg, 1942. Va: Westdeutscher Rundfunk, 1959-68; Pr Va: Op¬
era & Museum Orch, Frankfurt/M, 1968-82; Bayreuth Fest Orch, 1973-75;
Sydney Symp Orch, 1982-. Gasparo da Said chmb Ens, 1970-82; Sydney
Fine Arts Q 1987-. Ded: Gunther Raphael, Sonatina, Op. 52, 1944. Tch:
Musikhochschule Mannheim-Heidelberg, 1976-82; Sydney Cons, 1983-.
Found 1973, with wife, a violist, Dir 1980- Paul Hindemith Youth Mus
Institute, Hanau, W. Ger. (ca. 1500 students). O&P Gasparo da Salo, 1565.

PHELPS, CYNTHIA, b Hollywood, CA. Stud: Sven Reher, Milton
Thomas, William Primrose; U of Michigan, Donald Mclnnes, B.M. PfVa
1983, M.M. Pf Va 1984. 1st Prz: Tertis Int’l Va Compt 1984; Nat’l ASTA Solo
Compt; Oakland CA Symp Cone Compt; U of Michigan Cone Compt; twice
Int’l Coleman Chmb Mus Compt. Pr Va Minneapolis Orch 1986-. O&P Old
Italian.

PHILLIPS, KAREN. Resident performing at the U of Hawaii in the
summer of 1970, where Morton Feldman heard her play and decided to
write “The Viola in My Life’’ for her. He began work on the four comps July
1, 1970, in Honolulu. Ms. Phillips recorded these works with composer
supervising (Composers’ Recordings label).

PICCHIANTI, LOTTI UGHETTA (1918-). See Chapter XV, “Italian
Violists.”

PIKLER, CHARLES, b 1951, Monrovia, CA. Va, Vn, Cond, Mathma-
tician. Stud: Vn: High Sch, Ozwald Leitnert, Ben Ornstein; U Connecticut,
Bronislaw Gimpel 1969-71; Tanglewood Roman Totenberg Sum 1967, 68,
69, 71, 77; U Minnesota, B.A. Mathmatics with Honors. Vn: Minnesota
Orch 1971-74, Cleveland Orch 1974-76, Rotterdam Orch 1976-78, Chicago
Symp 1978-86. Pr Va Chicago Symp 1986-; Chicago Symp Q; Chicago
Symp Chmb Players; Quadrangle Chmb Players (1st Chair Chicago Symp
Orch Musicians). Prem Pf& Ded Frank Beezhold Viola Concerto 1989. Dir
& Pf Vn Concertos by Vivaldi The Seasons; Bach A minor, C minor for Vn
ir Oboe, Brandenburg 3, 4, 5, 6, Mozart D Major, Mendelssohn E minor,
Hindemith Trauermusik. In charge of sectional rehearsals for the Chicaago
Civic Orch, concertmaster of Chicago Chmb Orch. Tch Va Northwestern U
1985-, De Paul U 1985-. Favorite Va, which he plays, belongs to Chicago
Symp Orch: Dominico Montagnana, 1723 (Sub Signo Cremona-Venetia).

Biographies of Violists

419

PITULAC, VALERIU, b 1940, Chisinau, Romania. Stud: Timisoara
Coll of Music, 1955-59; Cons “C. Porumbescu” Bucharest, Prof. Alexandru
Radulescu, 1959-64. Lecturer, Bucharest Cons, 1964. Quintet “Musica
Nova”, tours So. America, Canada, W. Europe, USSR, 1964-73. O&P:
Biann, 1945.

PIXIS, BEDRICH (FRIEDRICH). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

PLICHTA, JAN (1898-1971). See Chapter XVII, “The Czechoslovakia
Viola School.”

PLUMMER, KATHRYN, b 1948, Lexington, KY. Stud: Indiana U,
David Dawson 1966-70; Juilliard Sch, Walter Trampler 1970-71. Va Cin¬
cinnati Symp Orch 1972-74; Pr Va Aspen Chmb Symp 1972-76. Blair Q
1974-83. Assoc Prof Oberlin Cons Mus 1981-84; Tch Blair Sch Mus,
Vanderbilt U 1974- Assoc Prof 1983-. Prem Pf Alan Shulman Variations of
Va, Harp, b Strings XIV IVG Congress. Ann Arbor MI, 1987. As Mbr Blair
Q Prem many works. Fest: Der Zukunft, Switz; Saint Serve, Fr. Record
Orpheus, Red Mark, Varese Sarabande, Pantheon, Gasparo. O&P Giovanni
Grancino, Milano, 1707.

PODJUKL, JOSEF (1914-). See Chapter XVII, “The Czechoslovakia
Viola School.”

POGGIONI, EMILIO (1937-). See Chapter XV, “Italian Violists.”

POLO, ENRICO (1868-?) See Vol. I, APPENDIX.

PONDER, MICHAEL, b 1948, London, Eng. Stud: RAM. Va London
Philh Orch, 1970-83. Successful solo debut St. John’s Square, 1973;
“Tribute to Tertis” Rctl 1974. Cone and record in USA, incl Public TV from
North Carolina; R.T.E. in Ireland. Prem Pf Paul Drayton Va Concerto;
Roger Steptoe Three Pieces for Va b Pno; Frank Styles Sonata for Solo Va
and Va Concerto No. 2; Peter R. Fricker Fantasy for Va. Has researched life
and comps of Rebecca Clarke; Lecture-rctl “Rebecca Clarke”, Tertis Int’l Va
Compt & Wkshop, Isle of Man, 1984. Writes for The Strad. Record British
Va Mus by: Frank Bridge, Arnold Bax, Rebecca Clarke, Lennox Berkeley.
Now freelance Va in London.

POPOVICI, DUMITRU, b 1942, Bucharest, Romania. Stud: Vn and Va
with Rosy Stern, Alexandru Radulescu. Tch Bucharest Coll Mus “George
Enescu”, 1968-.

PORZI, GIORGIO (1938-). See Chapter XV, “Italian Violists.”

420

The History of the Viola

POTTER, TULLY, See Introduction Chapt XVII. “The Czechoslovakia
Viola School.”

POUNDS, DWIGHT, b 1935, Loveland, Texas. Stud: Va Julius Hegyi
1951-53; Texas Tech U, B.A. 1954-58, M.Ed. 1961-62, Paul Ellsworth;
Indiana U, Ph.D. 1976, Irving Ilmer 1966, William Primrose 1967-70. Va:
Lubbock TX Symp 1950-54; Asst Pr Va Midland-Odessa TX Symp 1962-66;
Pr Va Bowling Green-Western KY Symp Orch 1970-. Mus Fac Western KY
U 1970-. Active in AVS: Vice-Pres 1980-85; Mbr Executive Board 1985-;
Translator for Franz Zeyringer IVG Congresses Houston, Boston, Ann Ar¬
bor. Author of The History of the American Viola Society. AVS Distin¬
guished Service Citation, 1985. Speaker XVI IVG Congress, Kassel, W Ger
1988. O&P Homer Clark, Salt Lake City, 1979.

POZZI, CARLO (1918-). See Chapter XV, “Italian Violists.”

PRAGER, MADELINE, b 1952, Oakland, CA. 1st Prz Young CA Artist
Compt, Instru Division 1980. Pr Va: Wuerttemberg Chmb Orch, Heil-
bronn, W Ger 1980-83; Stuttgart Philh 1983-. Philh Str Trio, Stuttgart
1988-. Teh Va Trossingen Musikhochschule, W Ger 1987-. O&P Lorenzo
Storioni, Cremona, 1792.

PREUCIL, DORIS, b 1932, Milwaukee, WISC. Stud: Walter Bogen,
Father, Vn, Va, Pno, Tch, 1936-50; Eastman Sch Mus, Vn Millard Taylor,
Va Pedagogy Francis Tursi, 1950-54; U Iowa, Charles Treger Vn 1966-68.
Shinichi Suzuki, frequent Master Classes 1965-. Career principally Vn, but
also Va, arranging, & pedagogy. Dir Preucil Sch Mus, Iowa City, IA 1975-.
Active leader in Suzuki tch organizs; Author Suzuki Viola School with Pno
Acc, Vol I-V, in preparation VI-VIII, Pub Summy-Birchard, Pno companion
record Vol I-!V. Illustrated Suzuki Materials Lecture XIV IVG Congress,
Ann Arbor, 1987. O&P Luigi Digiuni, Cremona, 1926; favorite is her hus¬
band’s William Moennig, Jr, 1955.

PREUCIL, WILLIAM, (Also see Vol I) Tch Va U Iowa-. “Modern” Pre
Pf Concerto for Va (7 Str, August Heinrich Gehra (1715-85), Moravian Mus
Fest, Bethlehem, PA, 1957, cond Thor Johnson. Rctl tour Japan, 1982. Ded
& Prem Pf Heinz Werner Zimmerman Concerto for Va 6- Orch Inland
Empire Symp, San Bernardino, CA 1986, also XIV IVG Congress, Ann
Arbor, 1987. O&P Giuseppi Sgarbi II, Modena, 1885.

PREVES, MILTON, (Also see Vol I) Retired from Chicago Symp 1986.
Also see Scott Wooley, “Milton Preves Journal of the A.V.S. Vol. 5, No.
1, pp. 9-13.

Biographies of Violists

421

PREVOST, GERMAIN, b 1891 Tournai, Belg; d. 1987 San Francisco,
CA. Grad as Va Cons Royal de Bruxelles 1911. Va Orch Theatre de la
Monnaie; silent movie theaters. Found with Alphonse Onnou, Laurent
Halland, vn, Ferdinand Quinet, cello, classmates, Belgian Pro Arte Str Q
1912/13; designated “Quatuor de l’Armee de Campagne” World War I; 1918
with Marcel Mass, cello soon attained world status; World War II Q-in-
Residence U Wisconsin, Madison; Prevost remained through personnel
changes of Q. Ded: Darius Milhaud, Quartre Visages for Va and Pno (La
Calif or nienne. La Wisconsinne, La Bruxelloise, La Parisienne), Op. 238
(Paris: Hengel, 1946) Prem Pf with Gunnar Johansen, pno (Explaining why
he wrote Comp for Prevost, Milhaud wrote, “because he (Prevost) loves his
friends, young faces, and music”, also with Johansen Prem Pf Sonata, Op.
240, 1944; with Nadia Boulanger, pno, Sonata Op. 244, Madison, Wise
1944, “to the memory of Alphonse Onnou.” Ded: Igor Stravinsky, Elegie,
1944, Va unacc, “Composed in honor of Germain Prevost, to be played in
memory of Alphonse Onnou, founder of the Pro Arte Q” (Chappell &
Co., Inc 1945, Copyright Boosey & Hawkes, Inc. 1972), Prem Pf Library of
Congress 1945. O&P Gasparo da Salo Va.

PRIMROSE, WILLIAM (1904-1982). See Volume I, Ch XV, and XVI;
Volume II, Ch XXIII, P.I.V.A.

PROCHAZKA, KAREL (1943-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

RADULESCU ALEXANDRU, b 1905, Sankt-Petersburg, Romania.
Stud: Vn, Va, A. Teodorescu, Adrian Sarvas, C. Nitulescu-Lupu, C. C.
Nottara, 1911-25. Va Romanian Opera, Bucharest Philh, 1921-30; Pr Va
Bucharest Philh 1930-. Tch Bucharest Cons, 1940-. George Enescu Q, with
George Enescu, Constantin Bobescu, Th. Lupu, 1942-.

RASK, BARBARA, b 1951, Buffalo, NY. Vn with Va pf & tch in North
Dakota. Stud: Michigan St U, M.M. 1973-75, Ph.D. 1980-83, vn Walter
Verdehr, va Lyman Bodman. Rctls: Bartok Concerto, Enesco Concertpiece,
Hindemith Sonatas, Schubert Arpegionne, Schumann Fairy Tales, & chmb
mus featuring Va. O&P Trent Rask, 1987.

RASK, TRENT, husband of Barbara Rask. Stud: Michigan St U, M.M.
Va Pf, Lyman Bodman 1984. Professional luthier.

RAVASIO, MAURIZIO (1953-). See Chapter XV, “Italian Violists.

422

The History of the Viola

REHAK, KAREL (1937-). See Chapter XVII, “The Czechoslovakia
Viola School.”

REISSIG, RUDOLF (1874-1939). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

REJCHA (REICHA), JOSEF (1752-1795). See Chapter XVII, “The
Czechoslovakia Viola School.”

RHODES, SAMUEL, (Also see Vol I) Pf Rctl at XI IVG Congress,
Houston, TX 1983. Pf “Paul Hindemith: The Viola Legacy, In Commemo¬
ration of the Ninetieth Anniversary of the Composer s Birth” a 3-conc series,
Carnegie Hall, Jan, Mar, Apr 1985. Jan. 12: Sonata for Va 6- Pno, Op. 11,
No. 4; Sonata for Unacc Va, Op. 25, No.l; Sonata for Unacc Va, Op. 31,
No. 4 (American Prem Pf, not yet pub); Trio for Va, Heckelphone, & Pno,
Op. 47, with Robert McDonald, pno, Donald MacCourt, heckelphone. Mar.
23: Sonata for VA ir Pno, Op. 25, No. 4 (1922); Sonata for Unacc Va, Op. 11,
No. 5 (1919); Des Todes Tod, Op. 23a (1922), Three songs on poems of Eduard
Reinacher for Woman s Voice, Two Vas, and Two Cellos; Sonata for Va &
Pno (1939), with Jan DeGaetani, mezzo-soprano, Cynthia Raim, pno, Steven
Tenenbom, Va, Joel Krosnick, Bonnie Hampton, cellos. Apr. 27: String Trio
No. 2 (1933); Duet for Va 6- Vncello (1934); Sonata for Va Solo (1937 unpub);
Die Serenaden-Small Cantata on Romantic Texts, Op. 35 (1924); String Trio
No.l, Op. 34, with Lucy Shelton, soprano, Hiroko Yajima, vn, Joel Krosnick,
cello, Henry Schuman, oboe.

RICCARDI, TITO (1929-). See Chapter XV, “Italian Violists.”

RICHBURG, C. LYNNE, b 1964, Detroit, MI. Stud: Catherine
Britton, Wesley Dyring, Lyman Bodman, 1975-82; U of Michigan 1982-85;
U So Calif 1986, B.M. Va Pf; 1987-88 M.M. Va Pf, Donald Mclnnes (1982—);
Sum: Banff, Karen Tuttle, Raphael Hillyer 1985; London, Nannie Jamieson,
1987; Int’1 Menuhin Fest, Switz, Paul Coletti, 1987. 1st Prz, William
Primrose Nat l Va Scholarship Compt, XIV IVG Congress, Ann Arbor, MI
1987; Prz Pennycress Trust Fund, Tertis Inti Va Compt 1984; Finalist in
many compts. Pf Alan Schuman Theme &■ Variations for Vair Str Orch, XIV
IVG Congress, Natl Arts Acad Orch, Kevin McMahon, cond, Ann Arbor,
MI 1987, USC Symp, Mus Acad West Fest Orch; JS Bach Concerto in C
minor for Va & Str Orch, Savannah Symp Orch, Detroit Symp Civic Orch;
Mozart Sinfonia Concertante, Aspen Orch, Calgary Philh; Concertos with U
Orchs Handel B minor, Hoffmeister D Major, JS Bach Brandenburg No. 6.
O&P Tetsuo Matsuda, 1986.

Biographies of Violists

423

RICHTER, FRANTlSEK. See Chapter XVII, “The Czechoslovakia
Viola School.”

RIDDLE, FREDERICK, (This bio to take the place of the one in Vol
I) b 1912, Liverpool, Eng. Stud: London Royal Coll Mus, Maurice Sons,
1928-33, Award Tabore Gold Medal, most outstanding student of the year.
Va London Symp 1932, soon appointed Pr Va-1938; Pr Va London Philh
Orch 1938-53, Royal Philh Orch 1953-77. Pf Concertos by Bax, Rubbra,
Fricker. Prem Pf of Concertos by Elisabeth Lutkyens, Martin Dalby, Justin
Connolly, Alan Hoddinott; Sonatas by Alan Rawsthorn, Malcolm Arnold,
many ded. Chmb Mus: Philharmois Ens and Str Trio 1933-39; Wigmore
Ens and Str Trio 1945-66; Robles Harp, Fl & Va Trio 1976-; Blech Q;
Pougnet, Riddle, Pini Str Trio 1950-65 which recorded all the Trios of
Beethoven, Mozart, Hindemith, Jean Frangaix, Lennox Berkelley, and
Dohnanyi, in Vienna in one week for American Westminister Label. Many
other records inch first recording of Walton Viola Concerto, London Symp
Orch, Walton cond, 1937; Vaughn-Williams Suite and Flos Campi, Bourne¬
mouth Sinfonietta, Chandos label. Tch Royal Coll Mus 1948-. “With the
RPO Sir Thomas Beecham did about once a season a concert in which I could
play any viola concerto I chose, from 1953 until he died. He was the greatest
influence on my life as a musician.” Also see Michael Ponder, “A Real
Professional,” Journal of the American Viola Society, Vol. Ill, No. 3, 1987.

RIEBL, THOMAS, b 1956, Vienna, Austria. Stud: Vienna Acad Mus,
Va Siegfried Fuhrlinger, grad with honors 1977; England, Peter Schidlof,
Sandor Vegh. 1st Prz Naumburg Va Compt & Ernst Wallfisch Memorial
Award, 1982, which included solo pf with Chicago Symp, Ravena Fest,
American Symp at Carnegie Hall, and record, Musical Heritage; also przs in
Budapest and Munich Compts. Pr Va Jeunesse World Orch and debut Vi¬
enna Konzerthaus, 1972. Va Solo, Vienna Symp, Berlin Symp; ORF Symp;
Bayrischer Rundfunk Symp Orch; Royal Philh Liverpool, Sudwest-
Deutsches Orch; Vienna Chmb Orch. Prem Pf Ralph Shapey Evocation No.
Ill for Va & Pno, NYC, 1982. Pf XI IVG Congress, Houston, 1983; Tertis
Compt- Workshop, Isle of Man, 1988. Prof Va Mozarteum Musikhochschule,
Salzburg, 1983-.

RILEY, JOHN HENRY, b 1948 Ann Arbor, MI. Stud: father Maurice
W. Riley, Anthony Whitmire, Nathan Gordon, Walter Trampler (Meadow-
mount), Robert Court, Wm Primrose, Louis Kievman. Riley Trio, with
brothers, George, vn, Ben Carl, cello, Meadowbrook, 1966. Riley-Duo,
with wife, Lisa, vn. Freelance Va, Calif. Va: West Valley Symp, Fresno
Philh, Bakersfield Musica di Camera. Tch Va, Strings, & Orch in Los An¬
geles, Bakersfield, Taft, & Big Bear, Calif areas in public & priv sch. O&P

424

The History of the Viola

Ritter-Karl Horlein, 1892 (see Vol II, Chapter IV); Bruce Carlson, 1979;
David Burgess, 1984.

RINNE, BERND, b. 1959 Frankfurt/Main, Ger. Stud Frankfurter
Musikhochschule: Vn K.A. Herrmann 1978-85; Va Hans Eurich 1979-85;
Dusan Pandula 1982-86; Stross Q, Rudolf Metzmacher. Haba Q. Lecturer
Chmb Mus Holland, Austria, Ger. Va works ded and-or pr pf by S. Havelka,
Z. Blazek 1985; J. Burghauser, M. Slik, J. Zeljenka, L. Pechuzzi 1986; K.
Slavicky, M. Hlavac, V. Sramek, J. Klusak 1987; R.R. Klein 1986,88; S.
Konicek 1986,87. Article: “String Q with Voice,” Municher Universitats-
Zeitschrift Ethologie Jahrgang 1987 vol. 20.

RITSCHER, KAREN. Founder VIOLA FEST, cone unusual comps of
various combinations. Va St. Luke s Chmb Orch; Orpheus Chmb Orch;
Barge Mus; NY Philharmonica. Prof Va Mannes Col Mus, Manhattan Sch
Mus, SUNY at Purchase. Rctl XIX IVG Congress, Ithaca, NY, 1991.

ROLLA, ALESSANDRO (1757-1841). Also see Vol. I. See articles:
Luigi Inzaghi, “Alessandro Rolla’s String Music,” Journal of the American
Va Soc, Vol. 1, No. 2; and Vol. II, No. 1. Luigi Inzaghi and Luigi Alberto
Bianchi, Alessandro Rolla, Catalogo tematico delle opere, Milano: Nuove
Edizione, 1981. Luigi Inzaghi, Alessandro Rolla, Vita Opera del Grande
Musicista Maestsro di Niccolo Paganini, Milano: Liberia Meravigli Editrice,
1984. The above represent the definitive research in the life and works of
Rolla.

ROMANI, AQUILES (?-?). See Chapter XII, “A Brief History of the
Viola in Argentina. ”

ROSE, ELLEN, b 1948, San Mateo, CA. Stud: Juilliard Sch Mus,
B.M., M.M., Walter Trampler, William Lincer, George Neikrug, 1979-74.
Amici Q 1971-72; Pr Va: Kansas City Philh 1978-80; Dallas Symp 1980-;
Dallas Chmb Orch 198 1-. Prof Va Southern Methodist U 198 1-, Aspen Fest
1989-. Pf Michael Tippett Triple Concerto for Vn, Va, ir Cello, Dallas
Symp; Cameo Scene (Am Prem) Vivaldi Orlando Furioso, Dallas Opera;
Trans & Pf Vivaldi Concerto for Va d’Amore, to G Major for Va, Dallas
Chmb Orch; Ded & World Prem, Margaret Brouwer Dream Drifts for Va &■
Pno; World Prem A. Loos Str Q, Boston. O&P Peregrino Zanetto, c. 1560-
80 (ex-Gertrude Buttery) 41.4 cm. (16 1/4 in.).

ROSENBLUM, MYRON, (Also see Vol I, change birthdate from 1923
to 1933.) Found Mbr of Va d’Amore Soc of Am 1977, which have biannual
Int i Congresses: U Wyoming 1982; Pittsburg St Coll Kansas, 1984; U Texas/

Biographies of Violists

425

Austin 1986; Stuttgart, W Ger, as part of Bachakademie’s Int’l Fest, 1988; U
South Dakota, Vermillion, 1990: Ded by Richard Lane and Louis Pisciotta
works for Va d’Amore. Gives lecture-rctls Va d’Amore, its history and its
music. Ed: A. Rolla String Trios, pub Rarities for Strings.

ROSTAL, MAX, b 1905, Teschen, Austria. Vn, Va, Soloist, tch of re¬
nown (recognized as authority of Flesch teaching method), editor, trans of
many works for Vn & Va. Stud: Schwartzwald Sch, Vienna, Arnold Rose,
1912-20; Hochschule fur Musik, Berlin, Carl Flesch, 1920-24. Many out¬
standing students, including members of the Amadeus Q, which he helped
organize. Many honors and awards throughout Europe. Mstr-cls worldwide.
Founder: ESTA (European String Teachers Association); Carl Flesch
Compt, London. Presently Prof Bern Cons Mus, Switz. Although princi¬
pally famous as Vn & Vn Tch, he has great interest in Va, which he teaches
and plays as soloist and in chmb mus groups. O&P Petrus Paulus De Vitor
Venetos, 1751.

RUIS, JAROSLAV (1928-). See Chapter XVII, “The Czechoslovakia
Viola School.”

RYBENSKY, JAROSLAV (1923-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

RYCHLfK, KAREL (CHARLES). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

SABATINI, RENZO (1905-73). See Chapter XV, “Italian Violists,” also
see Volume I, APPENDIX.

SAGRATO. LUIGI (1921-). See Chapter XV, “Italian Violists.”

SALTARELLI, DOMENICK, (Also see Vol I) Vn numerous orch in
Philadelphia & NYC areas. Pr Va New Orleans Chmb Mus Soc, Loyola U;
Louisiana State U Chmb Orch; U of TX Symposium for Contemporary Mus,
Trinity U Chmb, and San Antonio 1951-1981. Tch: Settlement Mus Sch
Philadelphia, U of TX/Austin, Dir Strings Trinity U/San Antonio 1960-1983;
Va Clinician: Nat l Orch Dir Assoc, TX Orch Dir Assoc. Cond San Antonio
Civic Orch, Trinity U Orch, Mid-TX Symp. Pf Berlioz Harold in Italy, New
Orleans Symp; Ralph Vaughn-Williams Flos Campi, San Antonio Symp;
Richard Strauss Don Quixote 5 times with Leonard Rose, cellist, San Anto¬
nio Symp 1951-81.

426

The History of the Viola

SANDLER, MYRON, b 1921, Milwaukee, Wise. Stud: U Wise, R.M.,
Cecil Burleigh, 1935-40; Juillard Grad Sch, Diploma, Hans Letz, 1940-43.
Toscha Seidel Q, Mallory Q. Twice nominated Most Valuable Player Award,
Nat l Acad Record Arts & Sciences. Soloist on 1st record of works by Igor
Stravinsky, Ernest Krenek. Prem Pf: Miklos Rosza Duo for Vn & Va, Ma¬
nuel Compinsky, vn. Western States Mus Dir for “Young Audiences, Inc”
(Ford Foundation Project). Fac Calif State U/Northridge 1959/89. O&P
Georges Boulangier, late 19th C.

SANTIAGO, ENRIQUE, b 1939, Madrid,; Spain. Stud: Madrid Real
Cons, Carlos Sedano, 1958-61; Cologne Musikhochschule, Max Rostal,
1964-66. Va Arriaga Q, Madrid, 1958-61. Pr Va: Stuttgart Chmb Orch
1967-72; SW Ger Radio Symp Orch 1972-78; Stuttgart Radio Symp Orch

1978- 86; Stuttgarter Solisten Str Sextet 1970-; Diabelli Trio (Fl-Va-Guitar)

1979- ; 2nd Va Melos Q 1970-. Tch Stuttgart Mus Hochschule 1975-. Prem
Pf Conrado del Campo Suite for Va Orch 1946, Madrid Radio Symp Orch,
cond Odon Alonzo, 1976; & Ded: Siegfried Barchet Suite for Va, 1976. Pf
IVG Congress, Stuttgart 1982. O&P Jacobus Stainer, 1667.

SAVELLI ALEARDO (1914-). See Chapter XV, “Italian Violists.”

SAWODNY, WOLFGANG (Also see Vol I), Editor of Die Viola Jahr-
buch der I.V.G. Research described in “Viola da Gamba oder da Braccio:
Ein Beitrag zur Besetzungsproblematik de Streichermittelstimmen in Sieb-
zehinten Jahrhundert,” Edition Helbling, Innsbruch, 1984. V Pres IVG
1988-.

SCHIDLOF, PETER (Also see Vol I) d 1987. Va, Amadeus Q, died
from heart attack in Sunderland, Cumbria, Eng. Austrian-Jewish, he fled
the Nazis in 1938; settled in Eng, where he stud with Max Rostal. Helped
organize Amadeus Q, comprised of two refugee vns, Norbert Brainin and
Siegmund Nissel, and Eng cellist Martin Lovett: almost 40 years cone world¬
wide; record all Mozart, Beethoven, Schubert Qs. Will be remembered as
one of the finest and most ded ens violist of the 20th c.

SCHIFFER, ERVIN, b 1932, Balassagyarmat, Hungary. Stud: Franz
Liszt Acad Mus, Budapest, Vn, Ede Zathukreczky, Va, Pal Lukacs, -1956.
Haydn Q, 1972-; Ens Contrast, 1976-; Prof Va: Tilburg Brabant Cons,
1962-; Amsterdam Sweelinck Cons, 1976-; Brussels Cons Royal Mus,

1980-; Prof Extraordinaire Va: Chapelle Musical Reine Elisabeth , 1983-.
Summers: Chmb Mus Course Oostende; Int’l Konzerarbeitswochen Han-
nover-Goslar; Int’l Acad d’Ete de Wallonie; Cours Int’l de Mus Morges-
Suisse; A.S.T.A. Record: Max Bruch 8 Pieces for Va, Clarinet, & Pno, Op.

Biographies of Violists

427

83. Concerts throughout Europe. Students hold important positions as pf
and tch in Paris, Amsterdam, Den Haag, Rotterdam, Brussels, Antwerp,
Diisseldorf, Stockholm, etc. Adjud Maurice Vieux Int i Concours de l’Alto,
Lille, 1986. O&P Gio Paolo Maggini, 1580-1632 (see Chapter II).

SCHLOMING, HARRY, Fl early 20c. Pr Va NYC Metropolitan Opera
Orch before WWI. Wrote very important set: 24 Studies for Advanced
Pupils, Op. 15, pub A.J. Benjamin, Hamburg, 1910, “To be used at the
Brahms Conservatory in Hamburg.” Text is in German and English. In the
“Preface ( Vorwort ) “Schloming explained the purpose of these Studies: “The
treatment of the viola by Berlioz, Weber, Wagner, and all modern compos¬
ers is demanding a more thorough technical training of the player than
generally found with a beginner on this instrument. As at present the Sym¬
phonic and Opera Orchestra claim a considerable technique, a thorough
study of the Viola will be to the advantage of every Viola player, musically
and practically. Enabled by many years of experience as first Viola player at
the Metropolitan Opera House in New York, I have written these studies
and hope, they will assist every assiduous musician in improving his tech¬
nique not only, but also his bowing.”

SCHOEN, WILLIAM (Also see Vol I) b 1919. Stud: Oscar Shumsky,
Emmanuel Vardi, D.C. Dounis, Felix Salmond, William Kroll, Morris
Gomberg. Asst Pr Va Chicago Symp 1964-88; Chicago Arts Q 1965-.
Claremont Q, 1953-62, Berkshire Q, Sum 1967-70. Solo Pf: Spohr Quartet
Concerto, Philadelphia Orch 5 pfs, Eugene Ormandy, Cond 1963;
Telemann Va Concerto, Chicago Symp, Antonio Janiero, Cond 1966;
Bruckner Fest, Unz, Austria; Tokyo Sch Arts; Brandenburg VI, Chicago
Symp, Jean Martinon, Cond; 3 times with James Levine, Cond. Prof Va
Chicago Mus Coll/Roosevelt U, 8 yrs; master classes at U, auspices Illinois
Bell Telephone Co. Rctl XIX IVG Congress, Ithaca, NY 1991.

SCHOTTEN, YIZHAK b 1943 Haifa, Israel. Stud U of So Cal, Indiana
U, Wm Primrose, Manhattan Sch of Mus and Aspen, Lillian Fuchs. Va
Pittsburgh Symp 1966-67, Boston Symp 1967-73; Pr Va Cincinnati Symp
1973-76, Houston Symp 1983-85. Mem Trio d’Accorda 1976-79. Winner
Concert Artist’s Guild Inti Compet NY 1978. Concerto pf: Boston Pops,
Japan Philh, Cincinnati Symp & Chmb Orch, Houston Symp, Toledo Symp,
US Air Force Symp Orch, and others. Concerts: US: Town Hall, Carnegie,
Merkin, Barge Series, (NY), Jordan Hall (Boston), Phillips Collection (Wash¬
ington DC), Dame Myra Hess Mem Cone (Chicago), Cleveland Museum of
Art; Israel; Japan; England; Canada; Mexico. Hst Chrp: XV IVG Congress,
Ann Arbor, MI, 1987. Pf at IVG Congresses: VII, Provo, Utah 1979; VIII,
Graz, Austria, 1980; XI, Houston, TX, 1983; XV Ann Arbor, MI, 1987. Prof

428

The History of the Viola

Va: U of Mich 1985-, Shepherd Sch Mus (Rice U) 1983-85, U of Wash
1979-83. Eastern Mus Fest 1967; Tanglewood 1968-73; Congress of Str
1980; Ohio Fest 1986; Interlochen 1986; Juneau & Fairbanks Fest 1987;
Killington Fest, VT, 1987-, Banff 1988, Aspen Fest. Fndr-Mus Dir: Fest
Inti Mus, Puerto Vallarts, Mex 1983, 84, Kapalua Mus Fest, Hawaii 1982-.
Clinic & Mstr-cl: Menuhin Sch, Guildhall, RCM, Eng 1986; ASTA &
MENC Natl Conventions 1988, etc. Record: Bloch Suite (1919), Hindemith
Sonata Op 25, No 4 (Chosen for “Critic’s Choice” High Fidelity Magazine);
W.F.Bach Sonata in C Min ; Colgrass Variations for Va and 4 Drums;
Hindemith Sonata Op 25, No 2, Crystal; Martinu Madrigals for Vn and Va;
Villal-Lobos Duo for Vn and Va, Crystal. Compact Disc: Shulman Variations
for Va, Strs, ir Harp; Britten Lachrymae for Va & Strs; Hindemith Sonata
Op 11, No 4; Marais Five Old French Dances, Crystal. O&P Brescian Va
(c.1580) used in Joachim and Kneisel Qs.

SCHWARTZ, DAVID (Also see Vol I) Contributor to Journal of AVS,
“The Studio Violist-An Endangered Species?”, No. 28, 1985. Lecturer at
XVII IVG Congress, Redlands, 1989, “Recording Industry and Studio
Work.”

SCIANNAMEO, FRANCO. See Chapter XIV in Vol II for biography.

SCOTT, GRAEME, b 1938, Sunderland, Eng. Stud: RAM London,
Max Gilbert, Gwynne Edwards, 1958-62; St. Cecilia Cons Rome, Renzo
Sabaatini, 1962-3; Priv Peter Schidloff, 1965-6. Pr Va London Mozart Play¬
ers 1965-8; BBC Symp Orch 1980-8. Prof RAM London 1983-; Guildhall
Sch Mus & Drama 1987-. O&P Carlo Rotta, Milano, c. 1725.

SEELMAN, MARILYN, b 1950, Laurel, Maryland. Stud: Boston U,
M.M. Va, Walter Trampler, Rolf Persinger 1978-80; U Miami, FL,
D.M.A./Cond, David Becker 1983-86. Va: Pro Arte Chmb Orch, Boston
1982-83; Miami Bach Soc, Philharmonic Orch FL 1983-86; Trinity U
Chmb Players, Str Trio, San Antonio, TX 1986-. Asst Prof Va, Cond Trinity
U 1986-. Prem, Ded Clark McAlister Nightwatch for Va & Winds, U of
Miami Wind Symp, Clark McAlister, Cond 1984. O&P Marten Cornelissen,
1980.

SEHNOUTKA, MIROSLAV (1952-). See Chapter XVII, “The Czech¬
oslovakia Viola School.”

SEMPREBON, IGINO (1954-). See Chapter XV, “Italian Violists.”

SESTAK, IVAN (1933-). See Chapter XVI, “The Viola in Yugoslavia.”

Biographies of Violists

429

SESTAK, TOMISLAV (1931-). See Chapter XVI, “The Viola in Yugo¬
slavia. ”

SEUBE, OLIVIER b 1957. Stud Reims Cons; CNSN-P, Serge Collot,
Bruno Pasquier. Va Orch Symp de la Garde Republicaine, Paris 1980; Orch
de l’Assoc Colonne, Paris 1980; Chmb Orch “La Follia ”, Mulhouse 1987.
Tch Strasbourg Cons until 1982. Ded: Pierre-Israel Meyer, Duet for Va (?
Flute; Pierre Marietan; Derborance. Mus Commis: Corinne Binder, Trio for
Va, Clar, ir Pno. O&P Va Etienne Vatelot, Paris, 1980.

SHEN, XI-DI, b 1940, Sichuan Province, China. Stud: Shanghai Cons
-1962, Wang Ren-Yi, Zheng Yan-yi, Tan Shu-Zhen; Tasmania Cons, Austra¬
lia, Jan Sedivka, 1984-85. Tch Shanghai Cons 1962-, Lect Va 1977-87,
Assoc Prof Va 1987-. Pf Va Shanghai Chmb Mus Group 1962-, tours major
cities of China, Philippines, Australia, Canada, Hongkong.

SHERBA, CONSUELO, b 1952, NYC. Stud: City U NY, B.Mus.;
graduate work, U Massachusetts, Amherst; U Wisconsin, Milwaukee; Va &
Chmb Mus: Felix Galimir, Philipp Maegele, Bernard Zaslav, Blanche
Schwartz Levy, Juilliard Q, Fine Arts Q, Cleveland Q, Budapest Q, Aspen
Insti, Bach Aria Insti. Pr Va Charleston, W. VA, Symp Orch, Atlanta Chmb
Orch. Southeastern Mus Center Q. Wisconsin Cons Mus Suzuki Program.
Charleston Q-in-Residence, Brown U; Rhode Island Philh; Grand Teton
Mus Fest, all 1987-.

SHIRAO, TOMOKO, b 1953, Tokyo, Japan. Stud: Tokyo Toho Sch
Mus, Ryosaku Kubota, Hideo Saito, 1969-1976; Freiburg, W Ger, Staat-
lichen Hochschule Mus, Ulrich Koch, 1976-79. Przwinner, Munich 1980;
Geneva 1982. Pr Va: Sudwest Ger Radio Symp Orch 1979-86; New Japan
Philh Orch 1986 -; Yasuda Q 1987-. O&P Enrico Ceruti, Cremona, 1859.

SHORE, BERNARD (1896-1984). Also see Vol I.

SHOWELL, JEFFREY, b 1952 Urbana, IL. Stud: Stanford U, Pamela
Goldsmith, 1970-72; Eastman Sch Mus, Francis Tursi B.M., M.M., 1972-
76; Yale U, Raphael Hillyer, M.M.A., D.M.A., 1976-78; Gerald Doty.
Rymour Q 1972-76; Pr Va: St. Paul Chmb Orch; Tuscon Symp Orch 1982-.
Tch Coll St. Benedict/St. Johns U; Assoc Prof U Arizona 1980-. Ed-Trans
Armitage Press, Arizona U, which has already pub seven works for the VA.
Author: A Technical Pedagogy for the Viola; articles in Journal of the Amer¬
ican String Teacher. O&P Caesar Castelli, 1947.

430

The History of the Viola

SHUMSKY, ERIC, b 1953, NYC. Stud: Vn Oscar Shumsky, his father.
Va Juilliard, full scholarship, Lillian Fuchs 1971-75; Banff, Henry Temianka,
1976; Aldenburgh Fest, William Primrose, 1981. Frequent Chmb Mus con¬
certs sponsored by Ford Foundation grants; Casals Q 1987-; Arpeggione
Ens (Paris) 1983-; American Pno Q (France) 1985-86; Shumsky-Leon Duo
1985; Int’l Chmb Soloists, Dir (Paris) 1984 -. Resided 1980-88 in Europe,
over 75 concerts, mostly with orch. Tch, Prof Va: Karslruhe Hochschule, W.
Ger; Les Arcs, French Alps; U Washington/Seattle 1988-. Rctl & Master¬
class, Tertis Int 1 Va Compt, Isle of Man, 1988. Masterclasses: RAM, Lon¬
don; Karlsruhe, W. Ger 1988; Saarbrucken Musikhochschule 1985-86;
Ecole Normal De Musique 1984; Musifleuve, France; Hoff Bartelson Mus
Sch, NYC 1974; Merzig, W. Ger 1988-. Record with father, Oscar Shumsky:
Mozart Sinfonia Concertante, Chmb Orch, Yan Pascal Tortellier, Cond
(EMI); Mozart Duos (Spectrum); Spohr Grand Duo (Spectrum); Handel-
Halvorsen Passaglia (Spectrum); Rolla Duo Concertante (Spectrum), and
others. Also see “A Portrait of Eric Shumsky”, The Strad, 1987. O&P Car-
boni, 44.5 cm. (17 1/2 in.).

SHUMSKY, OSCAR, b 1917, Philadelphia. Vn, Va, Cond. Stud: priv
Leopold Auer; Curtis Insti, Efrem Zimbalist. Mbr NBC Symp 1939-42. Vn
Primrose Q. Tch: Peabody Cons, Baltimore; Juilliard, 1953-; Curtis Insti
1961-65; Yale U 1975. In rctls often includes Va. See The Violexchange, Vol.
4, No. 1, pp. 2-4.

SILLS, DAVID (See Vol I).

SILVERTHORNE, PAUL, b. 1951 Cheshire, Eng. Stud Max Gilbert,
RAM. Co-found Medici Q 1973. Solo rctls. Pre Pf: Elizabeth Lutyens, Echo
of the Wind ; Robert Saxton, Concerto. O&P Brothers Amati 1620.

SIMACEK, HUBERT (1912-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

SITT, JAN (HANUS, HANS). See Chapter XVII, “The Czechoslovakia
Viola School.”

SKAMPA, MILAN (1928-). See Chapter XVII, “The Czechoslovakia
Viola School.”

SLAUGHTER, ROBERT (Also see Vol I). Prem Pfd, Comm, Garland
Anderson Concerto for Va & Winds; USA & Austrian Prem Pf Henk
Baddings Va Concerto; World Prem Maurice Gardner Tricinium and Phan¬
tasmagoria; Harold Levin Theme & Variations for Va & Pno. Tch Ball State

Biographies of Violists

431

U 1973-85. Va 1985 — Marin CA Symp, Pro Musica Q; free-lance: San
Francisco Opera Orch; San Francisco Chmb Orch; Oakland Symp. O&P
Lorenzo & Tommaso Carcassi, Florence, 1770.

SLAVIK, FRANTISEK (1921-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

SLAVIK, RUDOLF (1823-1880). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

SLOWIK, PETER, b 1957, Oak Park, IL. Stud: New England Cons
Mus, B.M. Scott Nickrenz 1975-79; Eastman Sch Mus, M.M., Heidi
Castleman; priv William Schoen. Pr Va: Basically Bach Fest, Anchorage, AL
1985; Fest Baroque Mus, Saratoga, NY 1975-87; Wichita Symp 1981-86;
Chicago Chmb Orch 1987; Chicago Sinfonietta 1988; Orch of Illinois 1987;
Guest Charles Ives Ctr Amer Mus Q Program 1980; Wichita St U Q 1981-
86; Mbr Concertante di Chicago 1985-. Tch: Prof Va Wichita St U ; 1981-86;
East Mus Fest 1983,84; Int’l Insti Mus, Taos, NM 1986; Northwestern U
1986-; Encore for Str 1987-; students in tch positions, professional orchs,
chmb mus ens throughout USA. Prem pf: Stephen Chatman Northern
Drones for Solo Va (Rochester, NY, 1980); Christian Woehr Concerto
Pesante for Va Section 6- Orch (Evanston, IL, 1987); Guest Artist, Dame
Myra Hess Memorial Cone Series, Chicago, 1987; Va d’Amore Soloist, Lyric
Opera Chicago, 1986 (Handel Orlando). O&P Aage S. Rasmussen, Racine,
Wisconsin, 1975.

SOLOMONOW, RAMI, b 1949 Tel Aviv, Israel. Stud: Rubin Acad
Mus, Artist Diploma, O. Partos Va, R. Shevalov chmb mus 1967-73; North¬
ern Illinois U, B.M., Shmuel Ashkenasi, Va 1973-75; priv Lillian Fuchs
1977. Prz Winner American-Israel Foundation for VA 1968-72; 1st Prz Va &
Chmb Mus American-Israel Foundation 1973. Asst Pr Va Israel Chmb Orch
1970-73; Pr Va: Lyric Opera Chicago 1974-, Colorado Mus Fest 1979-,
Orch of Illinois 1978-. Solo Pf Mozart Symphonie Concertante, with Shlomo
Mintz 1981, also Orch of Illinois 1984, 86, and Harold in Italy 1986; Betsy
Jolas Points d Auhe for Va & Orch 1986; Jon Polifrone Sonata for Va 6- Pno,
Merkin Concert Hall, NYC 1986. Guest Artist with many leading Qs, 1976-.

SOLOVIEV, VISSARION. Stud Leningrad Cons. Former Mbr Lenin¬
grad Philh. Co-Found Taneiev Q, 1949.

SONG, IN-SIK, b 1938, Taegu, Korea. Stud: U South Carolina, John
Bauer, Fritz De Jonge, 1976-79. Cond Yon Sei U Orch, Sun Hwa Mus Sch

432

The History of the Viola

Orch. Tch Va Yon Sei U Coll Mus, Seoul City U, Sun Hwa Music Sch. O&P
Marengo Romanus Rinaldi, 1893.

SOSIN, A. M. (1892-1970) Outstanding Prof Va, Leningrad Cons.
Many Leningrad Va stud with him.

SOUCY, JEAN-ERIC, b 1962, Chicatimi, Quebec, Canada. Stud Cons
de Musique de la Province de Quebec, Claude Letourneau, vn, 1975-81,
Douglas McNabney, Va, 1983-84; grad with 1st Prz Va, Chmb Mus,
Solfege, & Dictation. Va: Quebec Symp, 1983-85, World Philh Orch, 1989;
Pr Va: Canadian Chmb Orch, 1982; Violons du Roy, 1985-, Quebec Symp
Orch, 1986—; Asst Pr Va, Wiener Kammer Orch, 1986. Found-Mbr, Quebec
Q, 1987-. Tch, Cons Mus Province Quebec, 1986-. Prem Pf, Richard
Farber Vier Traumfor Baryton 6- Va, Austrian Broadcasting, 1986. Art Dir
summer chmb mus Rendezvous Musical de Laterriere. Semi-finalist Mau¬
rice Vieux Concours, Orleans, France, 1989; 3rd place Tertis Compt, Isle of
Man, 1989. O&P Laurence Cocker “Tertis Model” (made for Tertis) 1954.

SOUKUP, SOBESLAV (1922-). See Chapter XVII, “The Czechoslova¬
kia Viola School.”

SPELINA, KAREL (1936-). See Chapter XVII, “The Czechoslovakia
Viola School.”

SPIGA, UMBERTO (1937-). See Chapter XV, “Italian Violists.”

SRUBAR, RUDOLF (1925-). See Chapter XVII, “The Czechoslovakia
Viola School.”

STACH, VLASTIMIL (1885-1961). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

STAMITZ (STAMIC), ANTONIN (ANTON) (1750-after 1796). See
Chapter XVII, “The Czechoslovakia Viola School.”

STAMITZ (STAMIC), JAN (JOHANN) (1717-1757). See Chapter XVII,
“The Czechoslovakia Viola School. ”

STAMITZ (STAMIC), KAREL (CARL) (1745-1801). See Chapter
XVII, “The Czechoslovakia Viola School.”

STANESE, LIVIU, b 1948, Clauj, Romania. Stud Cons of Bucharest
with Radulescu, who was Va of Enesco Q; CNSM-Paris, Serge Collot; Royal

Biographies of Violists

433

Cons Brussels, Louis Poulet. Pr Va Residente Orch of The Hague 1972-77.
“Super Solist”, New Philh Orch Radio Fr, Paris 1977-. Va Enesco Q 1979-.
2nd Prz Int’l Comp Geneva. Solo Rect many orch: Romania, Fr, Ger, Holl.
O&P Nicola Bergonzi, Cremona 1780.

STANICK, GERALD (Also see Voll) Stud: Priv George Bornoff-1947;
Richard Seaborn 1950. Teh Va & Cond of Orch Vancouver Acad Mus, Van¬
couver Community Coll 1980-85; Assoc Prof Va, Vn, Cond U Calgary,
1982-86; U Cincinnati 1983; U Washington/Seattle 1983-84; U British Co¬
lumbia 1982-86; Banff Center Arts 1984, 86; Artist-in-Residence Johanne-
sen Int’l Sch Arts, Victoria, BC 1980-. Command Pf Rideau Hall for
Governor-General, Ottawa. Trio & Qs with Temianka, Starker, Branden¬
burg VI with Primrose and Tsutsumi. Students in major Symp in USA and
Can; and tch positions in major Us of USA and Can. Record many major
classical and contemporary works with Q Canada, also tours of North Amer¬
ica, Europe, and Orient. O&P Gio: Paolo Maggini, c.1600.

STECK, FRANCISCO (?-?). See Chapter XII, “A Brief History of the
Viola in Argentina.”

STEHLIK, MIROSLAV (1955-). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

STERNIC, LAZARO. See Chapter XII, “A Brief History of the Viola in
Argentina.”

STEVENS, RUTH, b 1935, NYC. Stud: Hunter Coll, B.S. 1957; Man¬
hattan Sch Mus, M.M., 1959, William Lincer, Sol Greitzer; chmb mus,
Alexander Schneider. Pr Va Queens Symp 1964-78, Long Island Symp
1979-81; Lyric Q 1978-80; Lyric Duo, Albert Lotto, pno, 1979-87; Solo
Cone Queens Philh 1985; String Specialist, H S Division, NYC 1967-87.
O&P William Carboni, 1977.

STEWART, JEAN, b 1914 Toneridge, Eng. Stud: RCM, Ernest
Tomlinson. Menges Q; MacGibbon Q; Richards Piano Q. Pre Pf: Robin
Milford, Air and Elegiac Meditation; Julius Harrison Sonata; Elizabeth
Lutyens Solo Sonata ; Gordon Jacob, Sonatina. Ded: Vaughn-Williams Sec¬
ond String Quartet, with important Va part “for Jean on her birthday”. O&P
J.B. Guadagnini, 1783.

STIERHOF, KARL, b 1917, Vienna, Austria. After many years of study
and pf on Vn (grad with honors Vienna Acad Mus & Arts, 1950), in 1947-: Va
in Vienna Staatsoper Orch. Stud Va, 1950-56, Ernst Morawec, Va d’Amore,

434

The History of the Viola

Karl Stumpf. Va Vienna Philh 1959-. Solo Pf throughout Europe. Prof Va,
Va d’Amore Vienna Hochschule Mus & Arts, 1964-; Full-Prof, 1978-.

STILES, FRANK, b 1924, London, Eng. Va, Composer, Cond. Stud:
Guildhall Sch Mus & Drama, Winfield Copperwheat 1949-52, and priv
1952-55. Addison Q 1955-61; Pr Va London Priory Concertante 1970-80,
now principal Cond. Teh Ealing, london Area, Berkhamstead, Herts 1961-
82. Pf own compositions: 1st Concerto for Va, London 1962; 2nd Cone for
Va, Southbank 1974; Four Pieces London St Johns, 1973. Also Comp:
Symphonie Concertante for Vn ir Va; 2 Sonatas; Atrio for Vn, Va, ir Pno; 4
Pieces for Solo Va; 2 Pieces for Va &■ Pno ; 4 Str Qs, 3 Symphonies, and
numerous Choral Wks. O&P Arthur Richardson, London, 1952.

STOICESCU, CIPRIAN, b 1957, Bucharest, Romania. Stud: George
Enescu Sch Mus, 1972-76. Pr Va: Bad Salzungen State Orch, E Ger, 1978-
81; Orquesta Filarmonica de Gran Canaria, Canary Is, Spain, 1982-86:
Orquesta Municipal de Valencia, 1986-. Comm Xavier Zoghbi Nirufor Va
&■ Str (2 Va, Cello, Bass, also Va ir Pno version), 1982; 4 Ancient Dances for
Q, 1983. O&P Meinel Und Herold, early 20c.

STRAHULJAK, ZLATKO (1933-). See Chapter XVI, “The Viola in
Yugoslavia.’’

STRANIC, DUSAN (1927-). See Chapter XVI, “The Viola in Yugosla¬
via. ”

STREATFIELD, SIMON, b 1929, Windsor, Eng. Stud: Royal Coll
Mus, London, Frederick Riddle 1946-50. Va: London Philh Orch 1950-53;
Royal Covent Garden Opera 1955-56. Pr Va: Sadlers Wells Orch 1953-55;
London Symp Orch 1956-65; Vancouver, Canada, Symp Orch 1965-70.
Fidelis Q 1961-65; Purcell Q 1965-68. Found Mbr, Acad St. Martin-in-
the-Fields 1958-65. Asst Cond Vancouver Symp 1965-70; Assoc Cond
1970-77; Cond Vancouver Bach Choir 1969-81; now established as one of
the outstanding Symp Cond in Canada: Regina Symp 1978; Manitoba Chmb
Orch 1982, Quebec Symp 1983-. O&P Anon Italian, c. 1725.

STREET-RAMSEY, MARNA, b 1949, Tulsa, Oklahoma. (Also see Vol
I) Pr Va Cincinnati Symp Orch, 1980-. Secretary AVS 1977-80. O&P
Vincenzo Panormo, 1776.

STUPKA, FRANTISEK (1879-1965). See Chapter XVII, “The Czech¬
oslovakia Viola School.’’

Biographies of Violists

435

SUGAREV, STEFAN TODOROV, see APPENDIX: INTRODUC¬
TION.

SUK, JOSEF (1929-). See Chapter XVII, “The Czechoslovakia Viola
School.’’

SVECENSKI (KOHN), LUIS (LOUIS) (1862-1926). See Chapter XVI,
“The Viola in Yugoslavia.”

SVOBODA, JAROSLAV (1908-73). See Chapter XVII, “The Czecho¬
slovakia Viola School.”

SWANTEK, PAUL, b 1963, Detroit, Mich. Stud: Boston U, B.M.,
Bernard Kadinoff, 1981-85; Catholic U America, M.M., Richard Parnas,
Rafael Druian, 1985-87. Pr Va USAF Symp Orch, 1986-; USAF Q 1986-.
Soloist, Vanhal Concerto in C Major with USAF Symp Orch, Ann Arbor,
Mich 1987. Plays Tiziano Bissolotti, 1974.

TALALIAN, GENRIKH, b Armenia. Soloist & Teh. Komitas Q.

TALICH, JAN (1945-). See Chapter XVII, “The Czechoslovakia Viola
School.”

TALICH, VACLAV (1883-1961). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

TAN, MARINA BEE GUAY, b 1960, Singapore. Stud: Ball St U, Rob¬
ert Slaughter, 1980-83; Juilliard Sch Mus, William Lincer, 1983-84. Va:
Indiana Symp Orchs: Ft Wayne, 1982-83; Muncie, Marion, Kokomo, 1981-
84; NY Nations Orch 1984; Singapore Symp Orch,1984-. O&P Chan Man
Seng, 1982.

TATTON, THOMAS Also see Vol. I. Continues to pub and make avail¬
able works for multiple violas. Cond multiple vas at IVG Congresses XVII,
Redlands, CA, 1989, XIX at Ithaca, NY 1991. Fac Coll of the Pacific, active
in Calif ASTA, and public sch mus.

TAYLOR, ALEXANDER MACDONALD, b 1932, Edinburgh, Scot.
Stud: Waddell Sch Mus, Edinburgh, Winifred Gavine, 1945-50; RAM,
London, Frederick Grinke, Max Gilbert, 1950-56. Va, London Philh 1958-
61, sub-pr va 1961-69; pr Va London Symp 1969-. Pf in cone most
Va literature with many premier cond, incl Don Quixote, with Lormier
Tortellier, Rostropovitch (twice), Douglas Cummings (4 times), Berlioz King

436

The History of the Viola

of Thule, Vaughn-Williams Flos Campi, with City of London Choir; as well
as many recorded. O&P Antonio Brenzi, Bologna, 1628, 43.2 cm. (17 in.).
Also O&P vas by Richard Duke, London 1780, 46.3 cm. (18 1/4 in.); Flem¬
ish, c. 1690, 47 cm. (18 1/2 in.); Stafano Scarampella, Brescia 1902, 47.3 cm.
(18 5/8 in.); Theodor Heberlein III, 1898 44.5 cm. (17 1/2 in.); Luciano Bini
in style of Brenzi, 43.2 cm. (17 in.); Rod Ward copy of Brenzi, 43.2 cm. (17
in.); Artur Richardson, 2 Tertis Models. Formerly owned: Daniel Parker,
London, 1715 (now owned by Michael Cookson) 43.2 cm. (17 in.); Romeo
Antoniazzi (now owned by Peter Norriss) 42.2 cm. (16 5/8 in.); Matthew
Hardie, Edinburgh, 1823, 41.3 cm. (16 1/4 in.).

TAYLOR, LUCILLE A., b 1956, Walla Walla, Washington. Stud:
Andrews U, BA Mus; DMA, Mich State U; Lillian Fuchs, Aspen Sum 1969,
1986; Indiana U, William Primrose 1970, Berkshire Q, David Dawson,
Heichiro Ohyama 1970-72; Lennox Q, Peter March, Toby Appel, SUNYC
Sum, 1972, 1973; Fine Arts Q, U Wisconsin/Milwaukee 1973-74, 1981;
Juilliard Q, Mich State U, Marlboro, Raphael Hillyer, Samuel Rhodes,
1974-1981; Guarneri Q., Michael Tree, Sum 1979; Donald Mclnnes, 1987.
Aspen & Marlboro Fellowships; Coleman Chmb Mus Award; 1st Prz Joseph
Fischoff Chmb Mus Compt. Debut Cone: Wilshire Ebel Theater, Los
Angeles, 1969; Goodman Theater, Chicago, 1974; Presidential State Dinner,
Warsaw, Poland, 1976; Wigmore Hall, London, 1977. Taylor Q, 1965-80;
Da Vinci Q, 1980-81. Pr Va: Monterrey, Mex, Symp, 1981-86; Redlands
Symp Orch, 1986-. Solos: Mozart Sinfonie Concertante, Twin Cities Orch,
1973; Telemann Concerto New Eng Youth Ens in Europe & USSR, 1974,
75, 76; Walton Concerto, MSU Symp, 1980. Teh: MSU Grad Ass t 1980; U
Wisc/Milwaukee 1980-81; U Montemorelos 1981-86; U Redlands 1986-.
Host/Chrperson/Artistic Dir/ Pf, XVII IVG Congress, Redlands, CA, 1989.
O&P Otto Erdesz, 1974.

TELECKY, MILAN (1930-). See Chapter XVII, “The Czechoslovakia
Viola School.”

TERIAN, MIKHAIL, b Armenia. Stud: Moskow Cons. Solo, Chmb
Mus. Komitas Q, 1925-46; Oistrakh Q.

THOMA, XAVER, b 1953 Haslach, Kinzigtal, Gr. Stud: Vn KarlThoma
(Grandfather), Musikdirektor, Kirschheim, Teck 1958-62; Prof. Albert
Dietrich 1962-68 and same including Va at Staatliche Hochschule fur Musik
Karlsruhe 1968-74; Va & Q Prof Jorg- Wolfgang Jahn 1977; Bartok Q 1979.
Va: Wahl Q, Karlsruhe, 1972-82; Badische Staatskapelle Staatstheater, Karls¬
ruhe, 1973-77; Bayreuther Festspiel Orch, 1977-87; Univ Lect Kreismusik-
schule, Luchow/Dannenberg. 1981; freelance Va various Orch Hamburg,

Biographies of Violists

437

Hannover, Bremen; Solistische Tatigkeit; Duo with cellist Andreas Unger.
Composer of distinction of many works for Viola alone and in many combi¬
nations: see list in Thombae Katalog, 3133 Schnega, W Gr. Prem Pf: Adolf
Kern (1906-1976), Sonate fur Bratsche und Orgel, 1974; and own compo¬
sitions. O&P Roland Hodapp, Oberkirch, 1971.

THOMAS, MILTON, (Also see Vol I) Pf and Lect XIII IVG Congress,
Boston, 1985.

THOMASON, DANIEL, b, 1934, Culver City, CA. Stud: Los Angeles
St Coll, B.A., 157, Sanford Schoenbach, 1956-64; Paul Doktor, 1961; USC,
M.M. (viola) 1964; D.M.A. (viola d’amore) 1976, Milton Thomas. Va, Va
d’Amore, Soloist, Carmel Bach Fest Orch 1957-68; Va: Birmingham, AL,
Symp, 1957-58; 7th US Army Symp Orch, Stuttgart, W. Ger, 1958-62;
Dallas Symp & Opera Orchs 1960-62; Glendale, CA, Symp Orch 1966-88.
Tch Instr Mus Los Angles City Sch 1966-; Va, Chapman Coll, Orange, CA,
1986-87. Co-Founder, Co-Dir (with Myron Rosenblum) The Viola d’Amore
Society of America. Co-solo (with Franz Zeyringer) IVG Congress, Graz,
Austria, 1980. Prem Pf USA: Telemann Trio for Va d’Amore, Flute, 6-
Continuo; K. Stamitz Duo for Va d’Amore ir Va, both Dallas, TX, 1961;
Aurelio Arcidiacono Due Stude, 1st Int i Va d’Amore Congress, Laramie,
WY, 1982. Ded: Dr. Gordon Childs, Dr. Myron Rosenblum, & Thomason.
O&P Pierre Vidoudez, (ex-Jasha Veissi) 1950; Ritter-Horlein Va-Alta, 1894,
47 cm. (18 1/2 in.); Josef Klotz, Mittenwald, 1799, 41 1/2 cm. (16 3/8 in.),
with cat-gut strings, tuned in “old pitch” — used for period music.

THOMPSON, MARCUS, (Also see Vol I) Correct: Prof Va Mass. Insti
Technology 1979-. Va Fac New Eng Cons 1983-. Artist Mbr Boston Chmb
Society. Host Chrman/Cond/Pf XIII IVG Congress, Boston, 1985. Ed Viola
Forum, The American String Teacher. 1988-90. Prem Pf: Andrea Nadelson,
Raphsodyfor Va 6- Pno; and Fantasy for Va Solo; Anthony Newman, Sonata
for Va & Pno and Concerto for Va & Chmb Orch; George Walker Sonata for
Va and Pno, 1987; William Thomas McKinley Samba. Soloist, National
Symp, Chicago Symp, St. Louis Symp, Boston Pops Orch.

THUNE, DANIJEL (1932-). See Chapter XVI, “The Viola in Yugosla¬
via. ”

THURZO, ALEXANDER JOSEPH, b 1943, Oradea, Romania. Stud:
with parents, 1950-55; Oradea school, Oszkar Boda; Vienna, George Pascu,
Elise Popovici, Istvan Lory. Pr Va Oradea Philh Orch. Solo rctls, Romania,
E. Ger, Poland. Radio and record Pf. Winner, state Va compt, 1983.
Zeyringer: “Thurzo is one of the experts on Romanian Va Music.”

438

The History of the Viola

TICHAUER, TOMAS (1943-). See Chapter XII, “A Brief History of
the Viola in Argentina.”

TOLPYGO, MIHAIL, b 1943. Stud: Moscow Cons, V. Borissovsky. 1st
Prz, Leningrad, 1963; 2nd Prz, Munich, 1965. Pr Va USSR State Symp
Orch. Teh Moscow Cons.

TOMPTER, LARS ANDERS, b 1959, Furnes, Norway. Stud: Priv: Vn
Prize, Michael Oustad, Hamar, 1967-71. Oslo Ostlandets Mus Cons, Oslo
Norwegian State Acad Mus, Leif Jprgensen, 1971-77; Bern Cons, Switz,
Max Rostal, 1977-80; Mozarteum, Sandor Vegh, 1986-88. Debut Vn, Va
1976. Solo Va: Norwegian Broadcasting Orch, Opera Orch, Chmbr Orch
(Tour Ger & Us, Iona Brown, Cond, 1987-88), Youth Symp Orch; Oslo
Philh Orch; Bergen Symp Orch; Berner Symp; and numerous rctls with pno.
Special Prz, Bela Bartok Va Concerto, Budapest Int’l Va Compt, 1984; Nor¬
wegian Representative: Brataslava Int’l Solo Biennial, 1984, Helsinki Nordic
Soloist Biennial, 1984; 1st Prz Maurice Vieux Int’l Va Compt, Lille, 1986.
Teh: Norwegian Youth Symp Orch & Ostlandets Mus Cons, Oslo, 1983-.
O&P Geoffrey Svinglar.

TOTH, ZOLTAN, b Hungary. Eder Q.

TOUTAIN, SABINE, b 1966, Le Mans, Fr. CNSM-Paris 1982-4,
Serge Collot, 1st Prz 1984; Bruno Pasquier Cham Mus. Grad Work Va,
Serge Collot 1984-5; Cham Mus Jean Mouillere, Via Nova Q. Paris Opera
Orch 1987, Simon Q 1985-87, Schonberg Sextet 1987, Prof Paris City Cons,
Summer Ass t Serge Collot. 3rd Prz Concours Int’l Maurice Vieux, Medal
for Interpretation Etude No. 18 by M. Vieux 1986; 2nd Prz Concours Int’l
Geneva, Swiss Medal, Interpretation La Ballade, by Frank Martin. Prem Pf
Episode 6th, by Betsy Jolas 1986; Concerto, by Alain Seve 1987. O&P Va by
Laslo Lendjel, 1984.

TRAMPLER, WALTER (Also see Vol 1). Pf mbr Lincoln Center Chmb
Mus Soc. Now Fac New Eng Cons Mus. Pf XIII Int’l Va Congress, Boston,
1985. Red AVS plaque, honor & recognition of contributions as pf Va artist
and tch, 1989. O&P Brothers Amati or Andrea Amati 44.4 cm. (17 1/2 in.).

TREE, MICHAEL, b 1934, Newark, N.J. Stud: Samuel Applebaum,
father, 1939-45; Curtis Insti Mus, Lea Luboshutz, Veda Reynolds, 1946-
56. Found Mbr, Guarneri Q 1964- (2500 cone, over 60 chmb record: RCA,
CBS, Vanguard, Nonesuch, Philips). Fac: Curtis Insti Mus 1969-, U Mary¬
land 1983-, St. Louis Cons 1982-88, Rutgers U 1988-. Co-Artistic Dir
Philadelphia Chmb Orch. NYC Seal of Recognition from Mayor Koch, 1982.

Biographies of Violists

439

Pres, 1st Amer Str Q Congress, College Park, MD, 1989. O&P Domenicus
Busan, 1750.

TRKAN, JOSEF (1897-1941). See Chapter XVII, “The Czechoslovakia
Viola School.”

TUTTLE, KAREN (See also Vol I) b 1920, Lewiston, Idaho. Master¬
class: XI IVG Cong, Houston, 1983; XVII IVG Cong, Redlands, Calif, 1989.
Fac: Aspen, Banff, Juilliard, 1987-. For additional bio and tch philosophy
see: “ Staying Open’ = Projection = Musical Excitement,” American
String Teacher, Winter 1985; and “The Intuitive Path,” The Strad, April,
1987. O&P Benedictus Wojtyszyn, Polish luthier.

UHL, ALFRED, b 1907, Vienna, Austria. Va & Comp. Tch Comp
Vienna Acad Mus & Arts 1945-. Besides many comps in almost all forms, he
wrote Kleines Konzerts fur VA, Cl, & Pno, 1936; Pno Trio Version, 1972;
Zwanzig Etuden fur Va, B. Schott, 1973. Comp for Va Pf IVG Congress,
Graz, Austria, 1980. For complete biography see A. Witteschnik, Alfred
Uhl, Eine biographische Studie, Vienna, 1966. Head, Austrian Chapter of
IVG, 1980-84.

USHER, NANCY JOYCE, Stud: Royal Coll Mus, Cecil Aronowitz,
1970-71; Eastman, Francis Tursi; Juilliard, William Lincer; New York U,
Ph.D., Dissertation: Performance Problelms in Selected Twentieth Century
Music for the Viola, 1980; Paul Zukotsky; William Primrose. Co-Pr Va Jeru¬
salem Symp 1980-. Record: Musical Heritage; New Release. See her article:
“The Va in the 20th Century,” The Strad, July 1980.

VALENTI, CLAUDIO (1953-). See Chapter XV, “Italian Violists.”

VALENTI, GIUSEPPE (1941-). See Chapter XV, “Italian Violists.”

VAMOS, ROLAND, b 1930, NYC. Stud: Julliard, Vn Oscar Shumsky,
B.S., M.S., 1956-60; Columbia Tch Coll, M.A. Mus Ed, 1962-64; Juilliard,
D.M.A. VA, William Lincer, 1972-74. Va: Antioch Q, Fac Antioch Coll,
1964-67; Columbus Symp Q, Ass t Pr Va, Columbus Symp Orch, 1967-69;
Cond East KY U Symp Orch, Concmaster, Lexington, KY, Philh 1969-72;
Concmaster, Owensboro KY Symp Orch, Fac Ky Wesleyan Coll, Brescia
Coll, 1972-74; Prof Va, Dir of Orch, Lydian Trio, Western IL U, 1974-;
Sum: 1984-86, Meadowmount Sch; 1987- Musicorda Str Camp. Record:
Lydian Trio, Villa-Lobos String Trio; Zwillich String Trio (Commissioned),
with Eukgenia Monacelli, pno, Faure Pno Q in g minor & Dvorak Piano Q,

440

The History of the Viola

Rizzoli Reds; Handel-Halvorsen Passacaglia, Rolla Duo concertante, Frank
Levy, Duo, Coronet. O&P Storioni, date ?

VANCOILLIE, ANDRES (d.1974). See Chapter XII, “A Brief History
of the Viola in Argentina.”

VANHAL, JAN (JOHANN) (1739-1813). See Chapter XVII, “The
Czechoslovakia Viola School. ”

VAN VALKENBURG, JAMES, b 1953, Ann Arbor, MI. Stud: Inter-
lochen Arts Acad, Joel Lipton, 1969-71; Indiana U, David Dawson, Georges
Janzer, 1971-75; Acad Mus Chigiana, Bruno Giuranna, 1973; Chmb Mus,
Menahem Pressler, Robert Mann, Norbert Brainin, Josef Gingold, Eugene
Lehner. International Q, 1974-86; Ass t Prof Mus Indiana U/South Bend,

1975- 80; Artist-in-Residence, Brown U, 1980-86; Ass t Pr Va, Detroit
Symp, 1988-. Many Prem Pf with Int i Q, Newport Fest 1980, 84; Meeting
House Chmb Players, Cape Cod 1981-85. Invited by Gidon Kremer to
participate in Lockenhaus Fest, Austria, 1989. O&P Antonio Ungarini, Fab¬
riano, IT, 1745 (17 5/8 in., 44.8 cm.).

VARDI, EMANUEL (Also see Vo//). Soloist IVG Congress, Provo, UT,
1979; Ann Arbor, 1987; Tertis Compt & Wkshop, 1984, 1988; Masterclasses
in Eng; Pf BBC; pf duo-Va rctls with wife, Lenore Weinstock. Morton Gould
ded: Concerto for Va 6- Military Band (also available for Orch) 1943, for
World War II use, pf many times & rec. Comp: Fantasy Variations on a
Theme of Paganini for Va 6- Pno, pub Emvar Music. “Committing entire Va
repertoire to disc.” Married to Lenore Weinstock, Va. O&P 2 Va by Hiroshi
Iizuki, Narberth, PA.

VASILAKI, YURI. Stud: Juilliard, Walter Trampler. Formerly St. Paul
Chmb Orch; fac Interlochen Nat l Mus Camp; DeVos Q; New World Q; now
Florida Q, 1987-. Wife-Linda Boozer, also Va.

VASQUEZ, JOEN, b 1954, Caracas, Venezuela. Stud: Inciba (Caracas),
Jose Fco. del Castillo, 1970-75; Juilliard, B.M. 1979, M.M. 1981, 1st Prz
Concerto Compt, Margaret Pardee, 1977-81; Acad Mus Chigiana, Sum:

1976- 78 Diploma di Merito, 80-86 Diploma d’Onore. 1st Prz, Washington
Int’l Compt, 1982; 1st Prz, 1980 Int’l Audition, NYC; 1st Prz, Passamaneck
Compt, Pittsburgh, 1987. Ass t Pr Va, Orquesta Filarmonica de Caracas,
1981-83; Pr Va, Orquesta Sinfonica Venezuela, 1983-85; Va, Pittsburgh
Symp, 1985-; “II Quattro” Q, 1987- Solo Pf South, Central, & North
America. Tch Va, Cons Qrquesta Sinf Juvenil, 1984-85. Prem Pf: Krzysztof
Penderecki (Poland), Concerto for Va 6- Orch, Maracaibo, Ven, 1983;

Biographies of Violists

441

German Caceres (El Salvador), Sonata for Va i? Pno, Corcoran Gallery,
Washington, D.C., 1982, Concerto for Va 6- Small Orch, Caracus, Ven,
1986; Mary Franklin (USA), Concerto for Va i? Orch, Maracaibo, Ven, 1987;
Gonzalo Castellanos (Ven), Concerto for Va b- Orch, Caracas, Ven, 1988.
O&P Emilio Celani, 1890.

VASSEUR, JEAN PHILIPPE, b 1946. Stud Besancon Cons, CNSM-
Paris, Joseph Calvet, Leon Pascal. Va Paris Opera Orch. Va d’Amore, “La
Grande Ecurie et la Chambre du Roy” Orch (Ancient Instru). Records on Va
d’Amore. O&P Maggini, Brescia, 1610, 41 cm. (16 1/8 in.), double purfling,
ornamental rosework on back.

VAVRA, OLDRICH (1879-1957). See Chapter XVII, “The Czechoslo¬
vakia Viola School.”

VENZHEYA, ANATOLY, b 1948, Ukraine, d 1981. According to
Madam Borissovsky, one of the best Va in Ukraine.

VEREBES, ROBERT, b 1934, Budapest, Hungary. Stud: Liszt Acad
Mus, Budapest, Pal Lukacs, 1953-56. Bartok Q, 1953-57; Pr Va, Ottawa
Philh, 1957-59; Va Montreal Symp Orch, 1959—; Pr Va McGill Chmb Orch
1959-; Classical Q of Montreal, 1973-; Prof Va, Cons Mus de Montreal,
1978 -. Prem Pf, Comm: Jean Coulthard Symphonic Ode. Vancouver, Can,
1979; Lothar Klein, Concerto Sacre, Edmonton Symp, 1985. O&P G.B.
Guadagnini, 1780.

VIDULICH, MICHAEL L., b 1946, Wellington, N.Z. Stud: Myra
Kestenbaum, Sanford Schoenbach, Pamela Goldsmith, William Primrose:
Litt.D., LRSM, FIBA, United Kingdom; Ph.D, U Washington; M.A. U
Houston; B.A., B.M., Diploma Mus, U California; Diploma Tch, AIRMT,
New Zealand; Unesco Scholar. Va: Auckland Philh Orch; Camerata Q;
Queen City Q; Free-lance Cond: New Zealand Orchs. Debut: Va Solo: Los
Angeles Philh, 1965; Cond: Glendale, CA, Symp, 1966. Radio Broadcasts:
Vaughn-Williams, Flos Campi; Kalliwoda, Nocturnes; Hummel, Phantasie;
Berlioz, Harold in Italy, et al. Composer: String Quartet on Benjamin
Franklin; Duet for Viola and Flute; Suite for Solo Piano ; & Prem Pf: Suite
for Strings, Papakura Civic Orch, 1988. Senior Lect Mus, Auckland Coll
Education. Advisor: N.Z. Sch for Pf Arts; Music Education N.Z. Schools.
Found, Dir: Australian and New Zealand Viola Society. Author: The Sec¬
ondary Schools Orchestra, A Guide for Teachers. Traditional Maori Musical
Instruments of New Zealand. Chamber Mus Enthusiast. O&P Johann Juzek,
Czech/Ger.

442

The History of the Viola

VIEUX, MAURICE, 1884-1957. See Chapter XIII, “Maurice Vieux,
The Father of the Modern French School and Les Amis de l’Alto.”

VITEK, PAVEL (1956-). See Chapter XVII, “The Czechoslovakia Viola
School.”

VOJTA (WOITA), DISMAS (d.1701). See Chapter XVII, “The Czech¬
oslovakia Viola School. ”

VOLMER, BERTA, b 1908 Saarbrucken, W Gr. Stud: Carl Flesch,
Berlin, Baden-Baden 1931-35. Vam Essen Q 22 years. St Akademy of
Musik, Cologne: Lecturer 1958-68, Prof 1968-, Dir Va 1971-. Collaborator
with Max Rostal. Pub Viola Bratschen Schule in three parts (Schott
1955,56,57). Pres W Gr Section IVG; Vice-Pres ESTA (W Gr division
European Str Tchrs Assoc) 1979-81. O&P Joannes Baptista Gabrielli, Flor¬
ence, 1767.

VOSS, HERMANN E. b 1934 Brunen, Gr. Stud: Vn Fr. J. Maier
Diisseldorf Robert Schumann Cons 1951-56; Vn Sandor Vegh 1956-8, Va
Ulrich Koch 1958-60, Freiburg Musikhochschule; Summers 1959,60
Sandor Vegh, Pablo Casals, Zermatt. 1st Prz Ger Mus Sch Compt 1959; 3rd
Prz Munich Intn’l Broadcasters Compt 1962. Pr Va Stuttgart Chmb Orch (K
Munchinger) 1960-67; Melos Q 1965-. O&P Gasparo da Said, 1580.

VRANICKY (WRANSKY) ANTONIN (1761-1820). See Chapter XVII,
“The Czechoslovakia Viola School.”

WALLACK, NORMAN, b 1927, Camden, NJ. Stud: The New
Sch Mus, Philadelphia, Max Aronoff, William Berman, Leonard Mogill;
Mozarteum, Salz, Austria, 1946. Winner Cultural Olympics Award, U Penn¬
sylvania, 1929, 30. Va: New Chmb Orch Philadelphia, 1947-49; National
Symp, 1949-59; USAF Symp 1950-54; New Orleans Philh 1954-58; Mobile
Symp, New Orleans Pops Orch, New Orleans Opera Orch, New Orleans
Symp, 1960-63; Virginia State Symp, 1963-; Pittsburgh Symp Orch, 1963-
76; Ass’t Pr Va, Pittsburgh Symp Chmb Orch 1963-76; Pr Va Pittsburgh U
Symp Orch 1978-79; Va: McKeesport Symp Orch, Wheeling, WV, Symp,

1979- ; Ass t Pr Va Pennsylvania St Opera Orch 1980-82; Va: Eastern Mus
Fest, Greensboro NC; Richmond Symp and Sinfonia; Swift Creek Chmb
Players, 1979-83. Fest Q, New Orleans, 1961-63. Tch: Loyola U, New
Orleans, 1961-63; Fillion Music Studios, Pittsburgh, 9173-75; Adjunct Fac,
Virginia Union U, St. Catherine’s Sch 1980-, Virginia Commonwealth U,

1980- . O&P Valentinius De Zorzi, 1889.

Biographies of Violists

443

WALTHER, GERALDINE (Also see Vol I), Pf Mozart Concertante,
Telemann Concerto in G Major with San Francisco Symp; William G. Hauff
(ca. 1755-1817) Concerto in E k Major, Texas Chmb Orch, Cond Milton
Katims, XI IVG Congress, Houston, 1983. Plays Lorenzo Storioni, Cre¬
mona, 1784 41.3 cm. (16 1/4 in.), property of San Francisco Symp.

WEINBERGER, ROZANNA, b 1956, Akron, Ohio. Stud Peabody
Cons Mus 1973-77, B.Mus., Va Karen Tuttle; U Western Ontario, 1977-80;
Juilliard Sch Mus 1980-83, M.Mus., Va William Lincer; Private William
Primrose, Felix Galimir, Emanuel Vardi. Pf Aspen Mus Fest; Tel-Aviv
Chmb Mus Fest; Kneisel Hall Series, Maine; Banff Centre Fine Arts; Line
Cent Alice Tully Hall; Walton Concerto, Westchester Philh; Hindemith
Trauermusik, London Chmb Orch; Hummel Fantasie, NYC Chmb Orch.
Tch U West Ontario 1977-80; Mannes Sch Mus (Prep) 1986-88; Hebrew
Arts Sch 1989-. O&P Carlo Giuseppe Oddone, Turin, 1929.

WEINSTOCK, LENORE, b Detroit, MI. BMA in Vn Pfm, Oberlin
Coll; MFA in Chmb Mus, Sarah Lawrence Coll. Stud: vn, Eric Rosenblith,
Joseph Silverstein, Dorothy DeLay. Grad Sch switch to VA, stud: Emanuel
Vardi. Pf rets East & Mid-west USA. Solo with orchs, NY, NJ, PA, MA;
Newport Mus Fest. Laurentian Q; Amacorda Q; Sutton Ens. With husband,
Emanuel Vardi, Duo-Va Rctl, XIV IVG Congress, Ann Arbor, 1987. Pro¬
ponent of new VA music, ded works by Seymour Barab, Richard Lane,
Bernard Hoffer, Manny Albam, Kermit Moore. O&P Hiroshi Iizuki.

WELLINGTON, CHRISTOPHER, b 1930 London, Eng. Stud:
Frederick Riddle; Keith Cummings. Zorian Q; Amici Q; Tre Corde; Music
Group of London. Pr Va Philomusica; Pr Va Tilford Bach Orch; Pr Va
London Bach Orch.

WERDIN, EBERHARD b 1911 Spenge, Gr. Composer of children’s
and layman’s stage music. Amateur Va. Stud: Cologne Musikhochsschule
and Univ. Dir Leverkusen Musikschule. Mus pedagogy courses in many
countries. Many easy compositions for viola.

WESTPHAL, BARBARA b 1953 Frankfurt, Gr. Stud: Frances Mason,
Royal Coll of Mus, London 1972-76; Broadus Erie, Raphael Hillyer, Yale
Univ 1974-76; Itzhak Perlman, NY 1976-78; Michael Tree NY 1978. 2nd
Prz (only prz given) Munich Intern’l Broadcasters Compt 1983. Prof Chmb
Mus and Va Univ Delaware 1978-85; Delos Q 1978-85. NY Rctl 1985. Solo
AVS Intern’l Va Congress Ann Arbor, Mich 1987. Freelance solo and Chmb
Mus worldwide 1985-. O&P Gasparo da Said, 1570.

444

The History of the Viola

WHEELER, LAWRENCE (Also see Vol /) Stud: Juilliard, Walter
Trampler, William Lincer; also Francis Tursi, Leonard Mogill, Paul Doktor,
Rruno Giurana. Pr Va Pittsburgh Symp; Prof Va, Houston U; Tch summers
Meadowmount. Pf X IVG Congress, Stuttgart, 1982; XI IVG Congress,
Houston, 1983; Soloist, Pittsburgh Symp, Icelandic Symp, Minnesota Orch,
Texas Chmb Orch. Rctls, Alice Tully Hall, NYC; Wigmore Hall, London;
often plays own compos, transc, arrgmts. O&P Johannes Gagliano, 1823
label, but actually is 19th c Neapolitan.

WHITE, JOHN (Also see Vol I: and Correct: Alberni Q not Albertini
Q.) Mbr of organizing commte, Lionel Tertis Compt and Wkshp,
1980,84,88. Michael Berkley, Elizabeth MacConchy, and Geoffrey Winters
have Comp works for him. Edited for pub Va comps by Alan Bush and
Richard Stoker. Record Haydn Op. 33 with Alberni Q (Saga); and 3 Qs by
Alan Rawsthorne (Argo). Honored with the title F.R.A.M., and appointed
Prof of Va and Head of Instrumental Studies at RAM, London, 1984 —

WIECK, ANATOLE, b 1953, Riga, Latvia, USSR. Stud: Emil Darzin
Mus Sch, Riga, Latvia, Joachim Braun, 1963-67 and Israel Abramiss, 1970-
72; Central Mus Sch, Moscow, Yuri Yankelevich, Zinaida Gilels, 1967-70;
Juilliard, B.M., 1973-78, M.M., 1978-79, D.M.A., 1987. Sum 1974-78
Aspen & Juilliard, Ivan Galamian, Joseph Fuchs, Lillian Fuchs, Paul
Doktor, Juilliard Q, Ovsep Andreasian. (Doctoral Thesis: arr & re-orch for
Va, Henri Vieuxtemps Vn Concerto No. 5 in a minor.) Va: Aspen Fest,
Brandenburg Ens, NY Chmb Orch, NY Pro Arte Chmb Orch, 1974-82;
Chmb Mus/West, Newport Chmb Mus Fest, Fest Comtemp Mus, Italy,
Arcady Mus Fest, New England Pno Q, Guest: 1977-87. Tch: Michigan
Council for Arts, Monroe, MI, 1980-81; Wyoming Council for Arts, Powell,
WY, 1981-82; U Texas String Insti, Sum 1980; Washburn U, Topeka, KS
1985-86; Maine ASTA Conf, Sum 1986,87; U Maine, 1986- Prem Pf:
Heskell Brisman, Canto III for Va, NY 1982; Miguel Coelho, Duo for Va ir
Pno, NY 1983; Werner Torkanowsky, Prophecies, 1987, (originally for cello,
at composer’s suggestion arr by Wieck for Va); & Ded: G. Donald Hopper,
Etude in G minor, NY 1983, Monastic Vaticinations, Wyominng, 1984;
James Sitterly, Sonata; Samuel Bradshaw, Sonata for Va & Pno; Gianni
Possio, “Before This Dawn” for Va Solo. O&P Genuzio Carletti, 1973.

WIRTH, EMMANUEL (1842-1923). See Chapter XVII, “The Czech¬
oslovakia Viola School.’’

WOODWARD, ANN, b 1940, Cincinnati, OH. For biography see in¬
troduction to Chapter VIII, “A Profile of Violists in the Classical Period. ’’
Also see Vol. I.

Biographies of Violists

445

WORK, JOSEPH T., b 1931, Omaha, NB. Stud: Eastman Sch Mus,
B.M, M.M., Francis Tursi, 1949-54; Vienna Acad Mus, Ernst Moravec,
1956-57; U Michigan, D.M.A., Robert Courte, 1959-61. Va: Rochester
Philh 1952-54; 7th US Army Symp 1955-56; Vienna Akademiequartet
1956-57; Western Q 1963-70; Kalamazoo Q 1963-69; Pr Va, Kalamazoo
Symp 1963-. Tch: Shenandoah Cons 1957-59; Fellow, U Michigan 1959-
61; Wisconsin State Coll/Stevens Point 1961-63; Western Michigan U
1963-. With luthier, Harry Reeve, book The Final Adjustment, 1989. O&P
Harry Reeve, 1980; Andrea Castagneri, 1740.

WREEDE, KATRINA, Turtle Island Str Q (jazz & “Am vernacular”
mus). Tch Va section Calif Youth Symp; Santa Clara U, Calif. Rctl XIX IVG
Congress, Ithaca, NY, 1991.

WROCHEM, ULRICH VON (Also see Vol. I) Soloist: VII Int i Va
Congress, Graz, Austria, 1980; X Int i Va Congress, Stuttgart, W Ger, 1982;
XVI Int’l Va Congress, Kassel, W Ger, 1988.

XIAO, HONG-MEI, b 1963, Qingdao, China. Stud: Shanghai Cons
Mus, 1980-84; SUNY/Stony Brook, John Graham, 1984-86; U Iowa,
William Preucil, 1987-88. 1st Prz Geneva Int’l Va Comp 1987. Prem Pf
Alfred Schnisttke Concerto for Va ir Orch, Orch Suisse Romande, Antal
Dorati, 1987. O&P Hiroskha Iizuka, 1983.

XUEREB, PIERRE-HENRI b 1959, Birmandreis, Algeria. Stud:
CNM-d’Avignon, 1st Prz Va & Chmb Mus; CNSM-Paris 1973-5, 1st Prz Va,
Serge Collot & Bruno Pasquier; Julliard, NYC 1976-8, Lillian Fuchs; Boston
U Sch for Arts, BM cum laude 1980-82, Walter Trampler; Int i Menuhin
Acad, Gstaad 1982, Yehudi Menuhin; Private William Primrose, Provo, Ut
1981-82, Scholarship Insti Int’l Educ; Finalist Ernest Bloch Compt,
Hindemith Compts. Fr Va Ens Intercontemporain 1978-80, Pierre Boulez;
Belg Nat l Orch 1986. Asst Pr Va Israel Sinfonietta 1985-6, Mendi Rodan.
Asst Prof Va CNSM-Paris 1983-; Prof Va, Nat’l Mus Sch Gennesvilliers
1987-; Master Classes Eur & No Am. Prem Pfs: J. B. Dartigolles, Fragments
de Narcisse, Ens Intercontemporain, Michael Gielen, cond; Paul
Hindemith, Unpub Solo Viola Sonata 1937, Radio West Europe & Israel;
Ded Joseph Vella, Dialoghetti. Gulbenkian Found, Lisbon; C. Fulkerson,
Capriccio, A. Vecchiotti Venezia Lasciar Vorrei; E. Seidman Passacaglia.
Many rctls worldwide solo & chamb. O&P Mkr unknown (See Chapter VI
“Experiments in the Design of the Viola”).

YANG, RIN-JONG, b 1944, Seoul, Korea. Stud: Seoul Nat’l U, B.M.,
Yong-Ku Ahn, Hai-Yup Yang, 1969; U Lowell, Mass., M.M. Vn, 1980; Man-

446

The History of the Viola

hattan Sch Mus, Str Pedagogy, Samuel Applebaum, 1982; U S. Carolina,
D.M.A.-Va Pf, Frits de Jonge, (Dissertation: “The Va Concerto of William
Walton”), 1986, D.M. A. -Conducting (Disertation “Korean Symphony Or¬
chestras”), Donald Portnoy, 1988. Pr Va Columbia, SC, Bicentennial Symp
Orch, 1985-86; Freelance Va SE USA; Pr Va Columbia Lyric Opera Orch
1984-. Fac: Yeung Nam U, Seuol, 1976-78; New England Cons, Extension,
1978-82; So Carolina, Continuing Ed, 1985-. Pf two Prem Pf, III Int’l Va
d’Amore Cong, Austin, TX, 1985. O&P Dudley Reed, #168, Gainesville,
FL, 1956; German Baroque, mid-18th century.

YASENYAVSKY, ISAAK, d. mid-1970s. Pr Va, 2nd Leningrad Philh
Orch.

YOUNG, RICHARD, b 1946, Mineola, NY. Stud: Indiana U, B.M.
Josef Gingold, William Primrose, 1965-69; Catholic U, M.M., 1969-71.
New Hungarian Q, 1972-79; Rogeri Trio, 1980-85; Vermeer Q, 1985-. Teh:
Oberlin Cons, 1972-85; Northern 11 U, 1985-.

YUROV, YURI. Stud with Genrikh Talalian. Prz, Leningrad, 1963.

ZAHRADNIK, VINCENC (1899-1967). See Chapter XVII, “The
Czechoslovakia Viola School. ”

ZALOKAR, SRECKO (1917-). See Chapter XVI, “The Viola in Yugo¬
slavia. ”

ZASLAV, BERNARD, (Also see

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